360Photography

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  • Iconic photographer Terry O’Neill passes away at 81

    Photo credit: Misan Harriman/Iconic Images, used with permission

    Only two months back, Peter Lindberg, Charlie Cole, Fred Herzog, and Robert Frank passed away within days of each other. Now the photography world has lost another icon. Terry O’Neill, best known for capturing the essence of the ‘Swinging Sixties’ with his photographs of legendary performers from the era including The Beatles, David Bowie, Elton John, Barbara Streisand, and Clint Eastwood, succumbed to a long battle with prostate cancer on Saturday night at the age of 81.

    O’Neill was known for capturing his subjects authentically and in an unconventional manner. As Elton John reflects, ‘looking at Terry’s photographs is like gazing through a window at the most extraordinary and exciting moments of my life.’ Born on July, 30 1938 in Heston, West London, O’Neill was on track to become a priest but found his true calling in music. ‘I was told I had too many questions to be a priest,’ he remarked.

    Photography would find O’Neill by accident. An aspiring jazz drummer, he sought out employment at British Overseas Airways Corporation (BOAC), now British Airways, in hopes that as a steward he could travel to New York City’s jazz clubs in between work breaks. There weren’t any steward positions open at the time. Reluctantly, he took a job in the airline’s photography department.

    Working with Peter Campion in BOAC’s photography department is what changed the course of O’Neill’s career. Campion immediately knew he had an eye and would give O’Neill photography books to peruse for inspiration. A chance encounter with then Home Secretary Rab Butler, asleep on a bench in a BOAC terminal, would yield a photo that was published in the Daily Sketch. O’Neill was immediately offered a job on the Fleet Street beat and worked at the paper for a few years before striking out on his own.

    One of his earliest assignments happened to be of a musical group that would define a generation. ‘I was asked to go down to Abbey Road Studios and take a few portraits of this new band. I didn’t know how to work with a group — but because I was a musician myself and the youngest on-staff by a decade — I was always the one they’d ask. I took the four young lads outside for better light. That portrait ran in the papers the next day and the paper sold out. That band became the biggest band in the world; The Beatles,’ recalls O’Neill in a quote published by his agency, Iconic Images.

    He would go on to photograph The Rolling Stones during their formative years. Their manager, Andrew Loog Oldham, credited O’Neill’s images as being fundamental to the band’s success. ‘Terry O’Neill captured us on the street, and that made all the difference. Terry captured the time.’ He continued on his path, photographing more famous faces that defined the 60s including Michael Caine, Audrey Hepburn, Elizabeth Taylor, Terence Stamp, Jean Shrimpton, and Frank Sinatra. Notably, he was one of the first photographers to work with Sean Connery as he portrayed James Bond. O’Neill worked as a photographer on all the Bond films in the coming decades.

    Although most of O’Neill’s work focused on the glitz and glamour of celebrity life during his six decades as a photographer, he also captured prominent athletes and politicians. He photographed the Queen of England twice and also caught Winston Churchill leaving the hospital in 1962. ‘Terry was a ‘historian’ whose camera captured the resurgence and energy of this revolution,’ says Michael Caine. ‘I can think of no other photographer who has contributed so much to our heritage.’

    O’Neill went on to capture classic images into the 70s including David Bowie’s ‘Jumping Dog,’ which premiered at the V&A Museum in London, along with riveting moments from Elton John’s ‘Rocketman’ tour – many that were used as reference material for the recent film. It was his portrait of actress Faye Dunaway, ‘Faye at the pool,’ that would establish him as an icon. Dunaway brought her Oscar statue, an award for her role in the 1976 film ‘Network,’ to the Beverly Hills Hotel pool the morning after she won. This atypical ‘day after’ take is recognized as one of Hollywood’s most iconic images to this day. O’Neill and Dunaway would go on to marry in 1983 before splitting in 1987.

    At the start of the 21st century, O’Neill started focusing more of his efforts on exhibiting, publishing, and discussing his work. In 2011, he was awarded the Royal Photographic Society Centenary Medal in recognition of his significant contribution to the art of photography plus an Honorary Fellowship of The Society. Earlier this year, he was awarded a Commander of the British Empire (CBE) for services to Photography in this year’s Queen’s Birthday Honours list.

    Robin Morgan, the former editor of The Sunday Times Magazine and CEO of Iconic Images, the agency that represents O’Neill’s work, sums up his career with the following statement; ‘No other photographer worked the frontline of fame for so long and with such panache. Terry chronicled the cultural landscape for six decades from HM Queen Elizabeth II, Winston Churchill to Nelson Mandela, The Beatles to Amy Winehouse, Muhammad Ali to the biggest stars of film and stage. They all dropped their guard to his mischief, charm and wit.’

    Adds Morgan, ‘By the end of his life his work was hanging in more than 40 galleries and museums around the world.’ To this day, O’Neill is one of the world’s most collected photographers. He is survived by his son, actor Liam Dunaway O’Neill and current wife Laraine Ashton.

    Articles: Digital Photography Review (dpreview.com)

  • Ricoh announces the Theta SC2, a 14MP ‘enthusiast’ 360-degree camera with 4K/30p video

    Ricoh has announced the Theta SC2, a second-generation ‘enthusiast’ 360-degree camera that’s a part of its growing Theta lineup.

    The Ricoh Theta SC2 serves as a successor to the Theta SC and brings with it new and improved features. Inside, it features a 14-megapixel 1/2.3-inch CMOS sensor capable of capturing 4K video (3840 x 1920 pixels) at up to 30 frames per second. In addition to 14GB of internal memory, the Theta SC2 offers a Micro SD card slot as well.

    Ricoh has added three new shooting modes to the SC2: a ‘Face mode,’ which recognizes human faces in the frame and automatically applies skin smoothing; a new ‘Night View’ mode that helps to shoot low-noise footage in low-light environments; and a lens-by-lens exposure mode that controls the cameras independently for situations where one side of 360-degree exposure might be brighter than the other.

    One small external upgrade from its predecessor is the addition of a small OLED display. Although smaller than the screen on the Theta Z1, the OLED display can be used to keep tabs on settings and battery life. There’s also a new self-timer button.

    The Theta SC2 features built-in Bluetooth and Wi-Fi connectivity for connecting and controlling the camera with Ricoh’s dedicated smartphone app.

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    The Theta SC2 will come in pink, blue, beige and white (the same colors the SC shipped in) when it ships ‘mid-December 2019’ for a suggested retail price of $ 299.95 / £269.99. Ricoh is currently taking pre-orders. We’ll have our Theta SC2 review out an hour after this post goes live, so keep an eye out.

    RICOH THETA SC2

    An Easy-To-Use 360° camera that’s simple to operate and capable of capturing high-quality spherical images and videos

    LONDON, 18 November 2019 – Ricoh Company, Ltd. and Ricoh Imaging Europe S.A.S. are pleased to announce the release of the RICOH THETA SC2. The SC2 is the “Enthusiast” level model of the RICOH THETA 360° camera series, capable of capturing 360° still images and video footage. The RICOH THETA SC2 is easy to use, simple to operate, and features a variety of functions.

    Since its release in 2013 as the world’s first hand-held 360° camera 1, “RICOH THETA” has been used in a multitude of environments and offers unlimited potential for image expression. 360° photography has become increasingly relevant, due to the rapid growth of the Virtual Reality market, the increasing number of social media services that are compatible with 360° images, and the growing demand for 360° images in the business market.

    The new RICOH THETA SC2 is an easy-to-use model, perfect for the 360 enthusiast, allowing anyone to capture high-quality spherical images. It snaps photos at approximately 14 megapixels, as well as smooth, immersive 360°spherical video at 30 frames per second in 4K (3840 x 1920 pixels). Additionally, the RICOH THETA SC2 comes with a variety of shooting modes such as “Face” mode, which recognizes human faces and applies skin smoothing, and “Night View” mode for shooting low-noise footage after the sun goes down. These modes allow the photographer to configure the camera with minimal effort.

    The status OLEDdisplay (Organic EL display) in the lower section of the RICOH THETA SC2 body, allows at-a-glance checking of a range of information such as setting modes and remaining battery power. RICOH THETA SC2 also features a new button that lets the user switch to self-timer mode, making the camera much easier to operate in a standalone manner. Staying true to the product concept of a compact, lightweight body, the RICOH THETA SC2 can be used as a live blogging camera that people can carry with them to record the events of their day. The line-up features four different Fresh Colours, allowing users to select a colour of their choice. This is the perfect camera for people who enjoy sharing pictures and videos on social media, or for those who wish to start using a 360° camera.

    Note 1: For consumer products, this refers to the fact that the camera can capture the entire space surround the photographer, not just in a half-sphere or horizontal direction, but in a single shot. (As of October 2013. According to Ricoh research.)

    Price & Availability

    RRP: £269.99

    Availability: Mid December 2019

    Colours: Pink, Blue, Beige, White

    Articles: Digital Photography Review (dpreview.com)

  • Michael Bonocore shoots Eagle hunters in Mongolia, with Sony a7R IV

    The Sony a7R IV is a 60MP full-frame mirrorless interchangeable lens camera, which offers a suite of powerful stills and video features.

    We follow photographer Micael Bonocore as he tells the story of Igram Askar, a young eagle huntress in Mongolia. Everything in this video was filmed and photographed using the Sony A7R IV.

    Sony a7R IV in Mongolia

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    This is sponsored content, created with the support of Amazon and Sony. What does this mean?

    Articles: Digital Photography Review (dpreview.com)

  • Video: FedEx contractor throws package containing $1,500 Canon lens

    A viral video shared by photographer Greg Riegler over this past weekend highlights the problem of carriers mishandling packages — in this case, a package containing a $ 1,500 Canon lens. The video was captured by a video doorbell security camera and recently detailed by Riegler on Reddit.

    The video shows an individual claimed to be a delivery driver in training carrying the box across the lawn, only to throw it across what appears to be 10-15ft onto the porch and into the door. The entire process was pointless, as the video shows the trainee walking back to the unmarked van, only to return with a second individual wearing the FedEx logo. A slip was ultimately left at the door and the package was returned to the truck.

    In a comment on Reddit, Reigler said:

    This happened yesterday, I’ve been in contact with FedEx and the local distribution center. It’s a contractor, and the guy tossing the box seems to be training, which is crazy he already doesn’t care about his job … I know packages are supposed to be packed in a way they can handle drops and what not, but they shouldn’t be intentionally mishandled.

    Riegler reports that an actual FedEx employee, not a contractor, delivered the package the next day and that the lens appeared to be unharmed upon inspection.

    Articles: Digital Photography Review (dpreview.com)

  • Luminar 4 with AI-powered editing features is now shipping

    Skylum software’s Luminar 4 image editing application is now shipping. The company had been giving us a few glimpses at the software’s new AI-powered editing tools over the past few months, including the AI Skin Enhancer and Portrait Enhancer filters, the AI Sky Replacement filter and the AI Structure filter which selectively enhances textures and detail in images. Now the package is finally available to users.

    In addition to the new tools there’s also a revamped user interface that, according to Skylum, will shorten the learning process for new users and, thanks to customizable tools, should provide ease of use for beginners and veteran users of Luminar alike.

    Luminar 4 is available is a standalone application but can also be used as a plugin for Adobe Photoshop, Lightroom Classic and Photoshop Elements, as well as Apple Photos for macOS and Aperture.

    The full version will set you back $ 89, an update from a previous Luminar version will cost you $ 74. Mixed-computer households can share the same product key for Mac and PC which can be activated on 2 devices. More information is available on the Skylum website.

    Articles: Digital Photography Review (dpreview.com)

  • SLR Magic launches four APO-MicroPrime Series lenses for Canon EF mount

    SLR Magic has launched four EF-mount lenses as part of its APO-MicroPrime line:

    • APO-MicroPrime CINE 25mm T2.1
    • APO-MicroPrime CINE 32mm T2.1
    • APO-MicroPrime CINE 50mm T2.1
    • APO-MicroPrime CINE 85mm T2.1

    The APO-MicroPrime lenses feature optical elements paired with a ‘unique optical design’ to correct longitudinal chromatic aberrations, according to SLR Magic. As a result, the company says bright and dark transitions in images are rendered without colorful artifacts, particularly when it comes to highlights.

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    Each lens has a 150-degree focus throw, T22 – T2.1 aperture and an 82mm intenal filter size alongside an 85mm outer front. As well, all four new CINE lenses weigh around 900g (1.9lbs) and feature nearly identical designs. All four lenses will retail for $ 1,499 USD with planned availability starting in December 2019.

    Articles: Digital Photography Review (dpreview.com)

  • Sony issues service advisory for its 16-35mm F2.8 GM lens

    Sony has issued a service advisory for a select number of 16-35mm F2.8 G Master lenses after it was revealed some units are causing Sony full-frame cameras to stop working when the lens is attached.

    According to the advisory, select Sony FE 16-35mm F2.8 GM lenses cause the camera to stop working when attached and prevent the camera’s screen from turning on. The advisory notes lenses between serial numbers 1800502 and 1823192 are those in the danger zone, so to speak.

    If your lens’ serial number is within that range, Sony has a tool on the service advisory page (translated) that will let you enter the serial number to see if your specific lens is affected by this recall. In the event it is, Sony says it will inspect and repair it free of charge through March 31, 2023.

    The form on Sony’s service advisory page that allows you to input your serial number to confirm whether or not your lens is affected.

    We have contacted Sony to clarify what regions this service advisory is limited to as well as additional information about the returns process for affected lenses.

    Update (November 18, 2019): Updated the introduction paragraph to clarify what issues the affected lenses cause and updated both the headline and article to note the service advisory isn’t limited to the Japan region.

    Articles: Digital Photography Review (dpreview.com)

  • The Canon EOS M200 is our favorite camera for around $500

    The previous winner of our ‘Best cameras under $ 500’ buying guide was the Canon EOS M100, and the recently announced M200 – which offers an improved AF system and 4K video capture – is the obvious choice to take over first place.

    Articles: Digital Photography Review (dpreview.com)

  • LG’s G8X ThinQ Dual Screen might just be a killer feature ahead of its time

    The LG G8X ThinQ is the South Korean brand’s latest high-end smartphone and was launched at IFA in September. It’s powered by Qualcomm’s Snapdragon 855 top-of-the-line chipset and features a 6.4-inch AMOLED display with FullHD+ resolution, 6GB RAM and an under-display fingerprint reader.

    On the camera side of things the new model relies on similar hardware as previous LG devices but has to make do without the dedicated tele lens that could be found on the G8 ThinQ. The X-model’s dual-camera setup combines a primary camera using a 12MP 1/2.55″ sensor and F1.8 27mm equivalent lens with an ultra-wide camera that offers a 13MP resolution, F2.4 aperture and 16mm equivalent field of view. The primary camera also features OIS and PDAF.

    The device’s standout feature is an attachable dual-screen case, though. It allows you to double the overall screen size and resolution, similar to other recent dual-screen devices, such as the Huawei Mate X or Samsung Galaxy Fold.

    We’ve had the chance to use the LG G8X ThinQ with Dual-Screen accessory for a few weeks now. Read on to find out what the Dual Screen has to offer for mobile photographers.

    The Dual Screen accessory

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    The G8X ThinQ’s dual-screen solution is different from other dual-screen devices in that the secondary screen can be removed when not needed. This means you have a very visible border between the two displays, but you can also leave the secondary display at home when not needed – which is a good thing as it adds quite a bit of bulk and weight.

    The secondary display is embedded into a case that the G8X can be inserted in, and connects to via its USB-C port. This means you need an accessory dongle for connecting a USB-cable when the Dual Screen is attached. This is not a major issue but, like any small accessory item, the dongle is quite easily lost if you’re not careful. The G8X is capable of wireless charging as well, though.

    There’s no need to open the case to check the time or to see if you have any new notifications

    The Dual Screen case does not have its own battery and instead draws power from the phone’s. LG claims the Dual Screen increases power consumption, depending on use, by between 20 and 30 percent, which is line with our experience.

    The secondary display itself is the same P-OLED type, size and resolution as the primary one and we also found the color rendering to be identical. The hinges of the case allow for 360-degree movement, and at the front there’s a 2.1″ monochrome OLED cover display that shows app notifications as well as time and date. This means there’s no need to open the case to check the time or to see if you have any new notifications.

    The rear portion of the case comes with a cutout, allowing you to use the phone’s camera while it’s in the case.

    Dual-Screen controls

    Once the Dual Screen is connected a control button appears on the right edge of the main display. A tap opens up the controls which let you swap the content of the two screens or turn the secondary display off.

    The Dual Screen has its own app drawer and you can place app shortcuts and widgets on it in exactly the same way as the main display. In the Dual Screen settings you can adjust brightness of the secondary display (or set it to be the same as the main screen), turn off the cover display and Dual Screen control button, and set an app to open when the Dual Screen is turned on among other options.

    Multi-tasking

    Multi-tasking is the Dual Screen’s main purpose. For example, you can watch a video on one display while writing and sending a message on the other, or use Google Maps for navigation at a holiday destination while browsing a travel app.

    In terms of use for imaging purposes, the options are (still) slightly limited. You could have the camera or an image editing app on one screen while browsing Instagram or another image sharing app on the other, but overall workflow efficiency gains are fairly small. At this point the Dual Screen is mostly about convenience: you can continue your Whatsapp-chat while preparing an Instagram-upload or editing an image.

    Mirror Mode in the Camera app

    App support for the Dual Screen is currently still quite limited but fortunately the LG Camera is one of the few apps that makes use of the secondary screen. With the Dual Screen attached you can turn on Mirror Mode. As the name suggests, it mirrors the camera’s preview image on the secondary display.

    Combined with the ability to angle the latter any way you like, this feature can be really handy when shooting overhead or at low height, just like a tilting display on a regular camera. You can also use the secondary screen like a waist-level viewfinder which is particularly helpful for holding the device in a stable fashion when recording video.

    It’s worth noting though that the mirrored display only comes with a shutter/video button. For all other controls you’ll still have to go back to the main screen. You can however swap the display content using the Dual Screen controls.

    Wide Mode

    Wide-view expands an app across both screens, offering an overall display size of 12.8 inches. This can be great for reading websites, viewing images and watching video but in many cases, especially when consuming multi-media content, the 15mm combined bezel between the two screens somewhat limits the experience.

    The fact that the feature currently only works with websites viewed in the Chrome browser is another downside. Still, Wide Mode can be useful for viewing websites in desktop mode or on those occasions when additional real estate increases usability, for example when viewing and navigating a map.

    Extended View

    In Extended View mode an app is divided into two screens. Unfortunately this feature is currently only supported by two apps – the LG Gallery and the Naver Whale browser – but LG says it is expecting support to be expanded to additional apps in the future.

    In the Gallery app you can tap on the Dual Screen button to expand the view. This allows you to browse thumbnails on one screen and open the full image on the other. You can zoom into the full image as well as share or delete it in this viewing mode. However, if you want to add a memo or edit, you’ll have to go back to the main screen, so the Dual Screen’s added value is somewhat limited in this instance.

    LG’s Naver Whale is a web browser and allows you to view websites in Wide Mode, just like Chrome. However, it also lets you open links on the secondary screen by double-tapping them. This can be useful when browsing shopping websites for example, when you don’t have to jump back and forth between your list of search results and product pages. You simply keep the list open on one screen and open product pages on the other.

    In a similar manner, when browsing Instagram or equivalent sites you can keep a user’s profile page open on the main screen and open individual posts on the secondary display. All this has to happen in the browser, though.

    Virtual Game Pad and Keyboard

    This Dual Screen use case is arguably the one that LG has implemented best so far. The Dual Screen can be used to display a virtual gaming pad. Android recognizes the app as connected bluetooth hardware which makes it compatible with any game that supports this kind of hardware. The pad is also customizable.

    We’re no gamers but after a few trial runs on Asphalt 9 it’s fair to say the pad works quite well. A hardware pad is arguably a better option, but this virtual implementation isn’t far off.

    The LG keyboard offers a very similar function. You can display a soft-keyboard on the main screen while having the app you are writing in, for example Gmail or Instagram, open on the secondary screen. The keys are larger than they’d be on a usual split-screen style keyboard and allow for more comfortable typing. We would not recommend it for writing your next novel but shorter pieces of text are absolutely manageable in this setup.

    Conclusion

    LG is a smartphone manufacturer who does not shy away from risky development decisions. Some years ago the company introduced a modular system with its G5 model which was very innovative but ultimately proved commercially unsuccessful. It was also among the first to introduce ultra-wide angle cameras to smartphone photography which today are pretty much ubiquitous.

    The Dual Screen follows in this tradition but at the current stage it’s still too soon to say if it will go the way of the G5 modules or become a success like the ultra-wide camera. It’s fair to say that for the latter to happen more apps will probably need to support the secondary screen.

    The most useful feature for photographers is Mirror Mode in the camera app which helps when shooting at awkward angles

    Right now it provides the most obvious benefits to those users who like to multi-task, letting you work in two apps at the same time. The ability to consume content across two screens or separate app controls from the main screen are great but unfortunately only work with a very limited number of apps. Currently, the most useful feature for photographers is Mirror Mode in the camera app which helps when shooting at awkward angles.

    For everybody else, and especially those who write a lot on their smartphones, the virtual keyboard on its own might be an argument to purchase a G8X ThinQ with Dual Screen. If that doesn’t quite convince you yet it’s probably a good idea to wait and see if the Dual Screen will get more support from app developers.

    Articles: Digital Photography Review (dpreview.com)

  • Opinion: I love what the a6x00 series can do but I’m not convinced by the ergonomics

    Something for everyone? Sony uses variations of the same body for everything from its $ 600 entry-level model all the way through to its $ 1400 one.

    All of Sony’s current APS-C cameras come in variants of the same camera body. And the more I have to use them and write about them, the more convinced I am that it’s not ergonomically especially well suited to any specific type of user.

    The a6000 series cameras all derive, essentially, from the NEX-6, a mid-range/enthusiast camera from 2012. It was a time when Sony was experimenting with NEX body shapes and interfaces, as it tried to create a product that matched the people actually buying the cameras. Having tried stripped-down cameras with icon-based interfaces and odd ‘three dials, but all controlled with your thumb’ designs, they settled on something in the middle. And then tried to make it work for everyone.

    Personally, I’m not sure they’ve succeeded. I believe they’ve created a series of cameras that’s intimidating to beginners but too simplistic to be enjoyed by more advanced users.

    Too complex to be simple

    As I wrote in my recent review, the a6100 can be a very good family and travel camera. This is thanks to two main things: the autofocus being really powerful, and the touchscreen meaning you can tell it where to focus without needing to really engage with the user interface.

    More than one person I’ve handed the a6100 to has recoiled and asked me ‘what do I press?’ which makes me think it would make more sense in the a5100’s body.

    The problem is that the camera design and user interface seem to have made almost no concessions to this audience. On more than one occasion I’ve handed an a6100 or a6400 to a novice only to watch them recoil and demand I just tell them which button to press.

    The camera body and displays are awash with obscure icons, to a degree that can be intimidating to the first time user. And the menus aren’t just consistent with the range-topping a9, they’re pretty much directly copied across. You have to have a lot of faith in your user interface to believe that pro sports users and family photographers will be equally well served by it. To me that faith seems, shall we say ‘optimistic’?

    I’d argue the Fujifilm X-A7 is a much more approachable entry-level camera than the a6100 (and that the X-T30 is a more engaging mid-range camera than the a6400)

    Sure, you can stick the camera in ‘Auto’ mode (or perhaps iAuto+ if you can find it), but ‘just ignore all the buttons, labels and stuff, and use it as a point-and-shoot’ isn’t exactly a ringing endorsement of the camera’s design.

    The result is a hugely capable but not especially welcoming camera for beginners.

    Too simple to be sophisticated

    At the other end of the spectrum, you have the a6600, which has impressive looking specs on paper: excellent AF, weather sealing, in-body stabilization and the longest battery life of any mirrorless camera. But the shooting experience doesn’t always live up to this spec, in my opinion.

    Although the body has twin control dials, they’re both controlled with your thumb, rather than the thumb-and-forefinger layout found on almost every rival model. In my experience I have to think more, and re-position my hand to a greater extent when trying to operate the a6600. And, while it does gain some extra custom buttons over the cheaper models, they’re located in positions I find uncomfortable to operate.

    The addition of a touchscreen means it’s no longer such a faff to move the AF point, but I still find the a6400 and a6600 less enjoyable to shoot with than their rivals.

    These criticisms, which extend to the a6400 if you’re trying to take control over exposure, aren’t about trying to make moment-by-moment changes (something my colleague Carey found to present its own set of problems), but more about being able to enjoyably take control over the camera. Maybe it’s just me.

    As the camera market seemingly contracts back to a state where most people buying cameras are doing so because they enjoy the process of taking photographs, it becomes ever more important to make cameras that are enjoyable to use. The a6400’s autofocus is unquestionably better than that of its current peers, but would I rather go out shooting with it over a Canon M6 II or Nikon Z50? No.

    One thing common to most $ 1000+ cameras (including Sony’s a7 series cameras): twin control dials controller with the forefinger and thumb. Clockwise from top: Canon EOS M6 Mk II, Fujifilm X-T3, Olympus OM-D E-M5 III, Nikon Z50.

    None of which is to say that they’re bad cameras. As I say, the a6600 has excellent battery life, impressive AF, in-body stabilization and, most importantly, can take really nice images: we’d actually recommend it for some types of shooting, despite not quite cutting it when pushed to its limits. But it wouldn’t be my first choice of camera, if I had to grab something to go shooting with.

    And that’s a shame because, with the introduction of its 16-55mm F2.8 and support from Sigma’s trio of F1.4 primes, Sony’s E-mount is starting to look like a credible APS-C system for enthusiast photographers.

    Not just on the outside

    The problems aren’t all just a question of handling. The menus also show little sign of specialization. Across all three models you’ll find a host of hand-holding features such as Soft Skin Effect, Smile Shutter and Auto Object Framing buried in the menus. These seem too well hidden to be useful for most beginner users and risk just being distracting clutter for more advanced users.

    A horizontal layout with no indication of where different sub-sections live means the Sony menus rely on the users’ memory more than most (though Canon’s layout is looking similarly overwhelmed). The ‘My Menu’ option lets you configure your way around the worst of it.

    In fairness, Sony has made some effort to arrange, name and color-code the sections of its menus, but it still gives you no real way to find your way to those sections. This means you have to rely more on memory than with most other brands. And even if they did give top-level section indicators, I’m not sure how many first-time users would guess that you enable AF Tracking in video mode using the ‘Func. of Touch Operation’ in the Setup menu, rather than something from the ‘AF’ sub-section of the Camera tab. Again, it just doesn’t feel like these cameras have been tailored to suit any particular type of user.

    Shop-shelf confusion

    What are the differences? Which one should I choose?

    So maybe I’ve got all this wrong. Maybe Sony isn’t trying to segment the market based on different needs and expectations, but solely by price. Perhaps that’s why the body styles and model names are so much less distinct than those of the similarly-priced models from other manufacturers. So rather than making X-A7/X-T100 style models for the beginners, M6 II / Z50 rivals to address the middle ground and an X-T3 competitor for more hands-on users, maybe Sony’s just making undifferentiated price variants.

    If it’s purely a question of ‘how much camera are you willing to pay for?’ then it makes some sort of sense. But I’m not sure it results in cameras that are particularly well suited to any specific person.

    *Richard Butler will not be reviewing the a6600

    Articles: Digital Photography Review (dpreview.com)