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Posts Tagged ‘Sony’

Sigma 45mm f/2.8 Lens for Sony Review

08 Oct

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 45mm f/2.8 DG DN (sony, Leica) is the latest addition to Sigma’s Contemporary lens line. Launched in July 2019, this lens is available as Sony E-mount or Leica L-mount. The latter mount is of particular interest as the new L-mount is compatible with Panasonic and Leica full-frame cameras, plus Sigma’s own forthcoming L-mount mirrorless cameras. I got my hands on an E-mount version and tested the lens with my Sony A7RIII. Here are my thoughts.

Sigma 45mm f/2.8 Lens for Sony E Mount

Specs

The Sigma 45mm f/2.8 lens has a maximum aperture of f/2.8, which may be a disappointment for photographers used to having at least an f/1.8 on their prime lenses. It also is a fairly expensive lens given its $ 549 price tag. However, this lens makes amends when it comes to size and the build quality.

Size

Compared to other Sigma prime lenses such as the Sigma 35mm f/1.4 Art (Nikon, Canon, Sony), this lens is significantly smaller and more lightweight. It weighs 7.5 ounces (half of the aforementioned 35mm) and comes in at less than 2-inches long. This makes the 45mm much more portable and discreet when compared to Sigma’s other Art lens primes that all have an f/1.4 aperture, but are significantly larger and heavier.

This compact size is closer to that of the Canon 50mm f/1.8 and 40mm f/2.8 pancake lens. Both were my longtime favorite prime lenses when I shot with Canon DSLRs. The beauty about this size is that it feels very balanced when attached to a full-frame camera, whether it be my old Canon 5D Mark III or my new Sony A7RIII. With that said, this lens puzzles me when I compare it to other similar lenses that I’ve owned.

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f/2.8 (left), Fujifilm 35mm f/2 (center), and Sony 55mm f/1.8 (right).

Build quality

It’s hard to ignore the design of this lens, which is both visually eye-catching and functional. There are two physical rings – the outermost ring controls the focus and the innermost ring selects the aperture, similar to how a Fujifilm lens performs. Choosing the aperture via the lens can take some getting used to, but it’s a wonderful way to interact with your camera. There’s also a switch to toggle autofocus or manual focus. The lens itself is made mostly of metal, and it includes a lens hood that is also made of metal. There is also weather sealing on the mount of the lens to keep dust and dirt at a minimal.

Shooting experience

45mm is an interesting focal length. It sits comfortably between two of the most popular focal lengths out there: the 35mm and 50mm. Not too wide or too narrow, 45mm gives you a range that feels natural, yet intentional. Autofocus on this lens is fast, accurate, and very quiet thanks to a fast-stepping motor.

If you shoot on a Sony full-frame mirrorless camera, you may also be familiar with the feature of flipping between shooting in full-frame and APS-C mode. While the latter does crop and shrink your images, it gives you the ability to shoot at a slightly zoomed-in focal length. This, in turn, gives you at least two focal lengths to shoot from, and it is one of my favorite features of my Sony A7RIII.

Sigma 45mm f/2.8 Lens for Sony E Mount

Image quality

The images captured by the Sigma 45mm f/2.8 lens result in very consistent color, tones, and sharpness. This lens has a rounded seven-blade diaphragm that renders a smooth, shallow depth of field. There is a minimum focusing distance of 9.4 inches, giving this 45mm decent macro capabilities.

In Conclusion

Overall, I had a very positive experience shooting with this Sigma 45mm f/2.8 lens. The compact size complemented the Sony A7RIII perfectly, making it a very portable unit. I usually have a 24-70mm f/2.8 or 55mm f/1.8 glued to my camera when shooting in low lighting scenarios. Thus, the 45mm’s f/2.8 aperture did not hinder me much. However, there is something to be said about having a faster aperture, especially in low light conditions.

If you enjoy shooting with a versatile prime lens that is reasonably fast but very portable, this Sigma 45mm f/2.8 lens might be the lens for you.

What are your first impressions of the Sigma 45mm f/2.8 lens? Would you purchase it? Why or why not?

Sample photo gallery

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f/2.8 Lens for Sony E Mount

 

Sigma 45mm f/2.8 Lens for Sony

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.


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The a9 II is the camera Sony had to make – but they didn’t make it for you

06 Oct

A lot of things are set to happen in 2020. It’s a presidential election year here in the US (actually it’s a presidential election year in lots of countries), Japan is hoping to establish a moon base*, and the UK will definitely, very likely, maybe have left the EU by he time Jan 1 rolls around. My money is on the moon base being ready long before the current British government gets its act together but we’ll see.

In addition to the aforementioned lunar exploits, Japan is also gearing up for the 2020 Olympic Games, to be held next year in late summer, here on Earth. We’ve yet to find out which countries will go home with the most gold medals (although knowing how hot Japan gets in late July I don’t fancy Team GB’s chances) but we do know that every jump that is jumped, every leap that is leapt, every shot that is put (putted?) and every hamstring that is torn will be captured by banks of television and stills cameras.

For this reason, Olympic years are big years for the camera industry. Traditionally, Canon and Nikon maintain a huge presence at these kinds of events, complete with large support staff, professional service centers, and stockrooms chock-full of cameras and lenses ready to be put into action by professional photographers from all over the world. Typically, we also see both companies announcing major new professional cameras either early in an Olympic year, or late the year before. Beijing 2008 saw photographers shooting with the Nikon D3 and Canon EOS-1D III, at London 2012 it was the then-new D4 and the EOS-1D X, and so on.

When the a9 was released about two and a half years ago, it was clear that Sony had its sights set on professional users

Sony is still learning how to be a ‘pro’ stills camera brand, but the company is moving extremely quickly. Sony has invested a lot in recent years in professional support, and these days has a large Pro Service presence at many major sporting events. When the a9 was released about two and a half years ago, it was clear that Sony had its sights set on professional users, and the expansion of professional support since then (as well as the release of some seriously impressive telephoto lenses) is further evidence that its leadership is very serious indeed about joining Canon and Nikon on the sidelines.

The new a9 II is, in effect, Sony’s 2020 Olympic camera. Announced fairly quietly today, without the usual Sony fanfare, the a9 II is a camera that the average DPReview reader will probably neither need nor buy. And Sony knows it. The upgrades compared to the a9 (which will continue in the lineup) are, for the most part, targeted at a small segment of the professional photographer user base. And even more specifically, towards photographers that shoot major sporting events.

A ten times increase in data transfer speed over LAN, the addition of 5GHz wireless connectivity, and the option to wirelessly send files from the camera when it’s turned off are valuable features for those times when you’re running around trying to send huge numbers of files to a remote editing station, but very few people ever need to actually do that. Likewise the ability to save up to ten sets of FTP settings to an SD card, or add 60-second voice memos to photographs, which can then be converted to text and appended automatically to EXIF using an app. Very cool, but not essential for most use-cases.

As an everyday machine for taking photographs, the a9 II is almost – but not quite – identical to the a9. Inside you’ll find the same 24MP full-frame sensor, the same autofocus system, albeit improved, the same 3.7 million-dot OLED viewfinder and broadly the same core feature set.

There are a few useful refinements though, some of which are courtesy of the new Bionz X processor: autofocus speed and precision have been improved, likewise face detection, and EVF responsiveness. A new mechanical shutter with a rated lifespan of 500,000 cycles brings faster mechanical shutter shooting (now up to 10fps), and the a9 II benefits from the ergonomic tweaks and improved weather-sealing introduced in the a7R IV. Image stabilization performance has also been slightly increased, from 5EV in the a9 to 5.5EV, and battery life has increased by around 6% (CIPA).

The a9 II’s video feature set is virtually unchanged over the a9, and shares its limitations (for some reason there’s still no Log option), but Sony has added real-time tracking.

Thanks to a series of firmware updates, the a9 is as competitive now as it ever was

You know what I think, but what’s your opinion? Should you buy one? After all, even if you’re just an amateur sports photographer, the increase in continuous shooting rate in mechanical shutter mode might make a big difference (specifically if the venue/s you shoot in use LED lighting or advertising panels) and the beefed-up weather-sealing could be essential for some situations.

For most people reading this article though, I suspect that the additions in the a9 II will prove to be of little or no interest compared to the original a9 which has been on the market for more than two years. Thanks to a series of firmware updates, the a9 is as competitive now as it ever was, and with the a9 II now at the top of the lineup, the older model is likely to get more affordable over the next few months.

Meanwhile, Sony can get the a9 II into the hands of the people that really need it – the pro sports shooters gearing up for next summer’s major sporting events. On the moon, or wherever.

* Yes, I know the cited article is from almost a decade ago, and since then the target date for Japan’s lunar base has been pushed back by at least a few years, but I’ll level with you – I was looking for a quick way to set up a cheap Brexit gag.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a9 II has a refined design and more pro-oriented features

03 Oct

Sony has introduced the a9 II, which adds a host of features for the working professional, along with a refined design largely borrowed from the a7R IV.

The sports-oriented a9 II uses the same full-frame 24MP sensor as its predecessor, though its faster Bionz X processor improves AF speed and precision, along with EVF display response. It retains the same 693-point on-sensor PDAF system as the a9, but with new algorithms that improve subject tracking. The camera can still shoot at 20 fps with no blackout using the electronic shutter, and the burst speed using the mechanical shutter has risen to 10 fps. There’s also a new anti-flicker system when using the mechanical shutter, making it much more usable under artificial light.

The biggest changes on the a9 II are targeted toward those who make a living taking photographs and need to deliver large numbers of them quickly

The a9 II has a larger grip than its predecessor, with improved weather-sealing around ports and doors similar to that of the a7R IV. The rear control dial now sits on the top plate, the EV comp button has a lock and the AF-On button and joystick are a bit larger. Battery life has gone up – and the camera can be powered over its USB 3.2 Type C port – and both SD card slots now support UHS-II speeds.

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The a9 II has a slightly improved in-body IS system, which can reduce shake by an additional 1/2-stop, while its 3.76M-dot EVF, tilting LCD and oversampled 4K video capture remain unchanged (meaning 8-bit and no Log modes).

The biggest changes on the a9 II are targeted toward those who make a living taking photographs and need to deliver large numbers of them quickly. Some of the new features include Gigabit Ethernet, 5GHz (802.11ac) Wi-Fi, background FTP transfer and voice memos. The camera can store up to ten sets of both FTP and camera settings, which is helpful when sharing the a9 II with multiple photographers.

The a9 II will be available in November for $ 4500. The a9 will continue to be sold as a more accessible model – at least for now.

Press release

Sony Electronics Introduces the Alpha 9 II with Enhanced Connectivity and Workflow for Professional Sports Photographers and Photojournalists

New Alpha 9 II Combines Alpha 9’s Unrivaled Speed with New Functionality to Match the Needs of Professionals

SAN DIEGO — October 3, 2019 — Sony Electronics today announced Alpha 9 II (model ILCE-9M2). The latest model from Sony’s acclaimed line-up of ? (Alpha) full-frame interchangeable lens cameras, the new model has been created to support working professionals in the fields of sports photography and photojournalism.

The new Alpha 9 II builds on the impressive legacy of the original Alpha 9, maintaining groundbreaking speed performance, including blackout-free continuous shooting at up to 20 frames per second with Auto Focus and Auto Exposure tracking at 60 calculations per second.

Updates include significantly enhanced connectivity and file delivery, continuous shooting at up to 10 fps with mechanical shutter, and evolved AF performance with newly optimized algorithms, re-designed build to enhance durability and operability.

“The voice of our customers is absolutely critical to Sony – we are always listening,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Alpha 9 II is the direct result of our work with agency, sports and news photographers since the launch of the original Alpha 9. We have added connectivity and network capabilities that drastically improve the professional workflow, while also making enhancements to design, interface and processing power that complete the user experience. Complemented by our extremely versatile E-mount system – with 55 native lenses introduced at this point including super-telephoto 600mm and 400mm G Master™ series lenses – this new camera is a tool unlike any other for professionals, whether in the field or on the field.”

Raising the Bar for Built-in Connectivity in the Professional’s Workflow

The Alpha 9 II includes a built-in 1000BASE-T Ethernet terminal, enabling gigabit communication for high-speed, stable data transfer operations. Additionally, File Transfer over SSL or TLS encryption (FTPS) is supported for increased data security and PC remote (tether) shooting performance is improved, with decreased release time lag and reduced live view screen delay when using the ‘Remote Camera Tool’ desktop application. The speed of the camera’s built-in wireless LAN functionality has also been increased, adding a stable and fast 5 GHz (IEEE 802.11ac) band, in addition to the 2.4 GHz provided in the Alpha 9. IEEE 802.11a/b/g/n/ac standards are all supported.

Designed to improve the speed of news agencies’ workflow, the Alpha 9 II features a new Voice Memo function that allows spoken information to be attached to images in the form of voice memos that can be replayed when the images are reviewed. The voice data can also be included with images sent to an editor, giving them important information needed for effective editing. Alternatively, a field photographer can also use the ‘Transfer & Tagging add-on’ “Imaging Edge™” application to transfer voice tags with the images to their mobile device and have the voice memos automatically converted to text and added to the JPEG images in the form of IPTC metadata. All of this can be done automatically or manually selected by the photographer.

By combining wireless voice/image transfer and automatic voice-to-text conversion with the ability to auto-transfer images with attached voice memos via FTP, it is possible to shoot and transfer the results to an FTP server without ever having to operate a smartphone. FTP settings within the app can also be sent to a camera via Bluetooth®, allowing for a faster workflow.

The Platinum Standard for Speed and Auto Focus Performance

The new Alpha 9 II shares the same acclaimed 35mm full-frame stacked 24.2 MP Exmor RS™ CMOS image sensor with integral memory as the original Alpha 9, giving it the same unmatched speed performance and outstanding image quality. The new model can shoot continuously and completely silently at 20 fps for up to 361 JPEG images or 239 compressed RAW images, with no viewfinder blackout allowing the photographer to follow the subject and action with no interruption to the EVF during picture taking. For times when mechanical shutter is preferred or required, the new Alpha 9 II has been improved to shoot at up to 10 fps, about 2x the speed of the Alpha 9.

The camera is able to function while continuously calculating Auto Focus and Auto Exposure at up to 60 times per second, with newly optimized AF algorithms that provide notably enhanced AF precision and performance, ensuring that even the most erratic subject motion that is associated with sports are captured with high precision. Also useful for sporting events, the camera now offers an anti-flicker shooting mode that automatically detects and adjusts for the presence of fluorescent or artificial lighting to maximize image quality.

The advanced focusing system in the new Alpha 9 II is far beyond the capabilities of any professional camera. Comprised of 693 focal-plane phase-detection AF points covering approximately 93% of the image area, as well as 425 contrast AF points, the Fast Hybrid Auto Focus system achieves extremely fast and accurate performance, ensuring all fast-moving subjects are accurately captured. Additional notable focusing capabilities include Real-time Eye AF with right eye / left eye selection, Real-time Eye AF for animal augmented with a new algorithm, Real-Time Eye AF for movie, Real-time Tracking, selectable focus frame color, Touch Pad focus point control while using the viewfinder and more. AF can also now continuously track even if continuous shooting is greater than F16, providing further accuracy for shots that require slower shutter speeds. ?

Refined Build and Operability

  • Upgraded BIONZ X™ image processing engine gains maximum benefit from the sensor’s fast readout speed; processor works with front-end LSI to enhance speed in AF/AE detection, image processing, face detection and accuracy, and more
  • Upgraded dust and moisture resistant design to meet the needs of professionals in even the most challenging outdoor conditions; stronger sealing provided at all body seams as well as the battery compartment cover and media slot
  • Latest developed image-processing algorithm reduces noise in the medium-to-high sensitivity range while improving subjective resolution and image quality
  • 5-axis optical in-body image stabilization system that provides a shutter speed advantage of 5.5 steps
  • Improved grip configuration for even greater comfort and sure hold; compatible with Sony VG-C4EM Vertical Grip
  • Improved button design and feel; increased diameter and feedback of the ‘AF-ON’ button; a refined multi-selector joystick design; an exposure compensation dial lock button; and a redesigned shape and new position for the rear dial
  • Redesigned shutter mechanism to suppress even the slightest movement that can cause image blur; tested for durability in excess of 500,000 shutter cycles
  • USB Type-C™ connector that supports fast USB 3.2 Gen 1 data transfer
  • Dual media slots that are both compatible with UHS-I and UHS-II SD cards, allowing higher overall capacity and faster read/write speeds
  • Digital audio interface has been added to the camera’s Multi Interface Shoe™ (MI Shoe), enabling the new ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit to be connected directly to the MI Shoe for cleaner, clearer audio recordings

Pricing and Availability

The new Alpha 9 II will be available in November 2019 priced at approximately $ 4,500 US and $ 6,000 CA. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Articles: Digital Photography Review (dpreview.com)

 
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Sony has announced it’s reorganizing and renaming its image sensor business

30 Sep

Sony has announced it’s reorganizing its image sensor business and giving new titles to various management positions tomorrow, October 1, 2019.

In a press release, Sony notes its ‘Imaging & Sensing Solutions’ is being reorganized to ‘Corporate IS Department.’ Sony has also streamlined its research and development (R&D) organizations by combining the divisions within each of the three R&D organizations: Application Technology Development, System and Platform Technology Development, and Fundamental Technology Research and development.

The section of the press release detailing the ‘Organizational Reforms’ within Sony’s image sensor business.

With the reorganized structure comes new titles for multiple division heads and Senior Vice President Makoto Toyoda.

The section of the press release detailing the ‘Personnel Appointments’ within Sony’s image sensor business.

No answer is given as to why the changes are being made and what they could mean for consumers, but it’s something we’ll be keeping an eye on.

Articles: Digital Photography Review (dpreview.com)

 
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Sony details specs for a 47MP MFT sensor capable of recording 8K30p video

27 Sep

Sony has released a document detailing the specifications for a 47-megapixel Micro Four Thirds (MFT) sensor capable of shooting up to 8K video up to 30 frames per second (fps).

The sensor, known as IMX492LQJ (there’s also a monochrome IMX492LLJ version), is listed as ‘a diagonal 23.1 mm (Type 1.4) CMOS image sensor with a color square pixel array and approximately 47.08 M effective pixels.’ According to the features list, the sensor features 12-bit A/D conversion, has a 2.315 micrometer (?m) pixel size and offers a variable-speed electronic shutter function.

As the above specifications note, the sensor can capture, in 10-bit mode with a 17:9 crop, 8K video (8192 × 4320 pixels) at up to 30 fps when paired with an SLVS-EC output interface. This resolution is exactly double the 4K (4096 x 2160 pixels) resolution of the 17:9 crop mode on the Panasonic GH5S.

Decreased power consumption is also noted, which should help extend the battery life of any camera it’s used in (or at least make up for a fragment of the increased processing power that will be required to handle all of the data).

It’s worth noting that although Sony lists the applications for this sensor as ‘Surveillance, FA cameras and Industrial cameras,’ the IMX299 inside Panasonic’s GH5S was labeled as such as well.

We could speculate whether or not this will be available on the next-generation MFT camera from Panasonic or Olympus, but the reality of it is we have no idea and won’t until any such camera is released—and maybe not even then.

Articles: Digital Photography Review (dpreview.com)

 
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High resolution Sony a7R IV pixel shift images added to studio scene, sample gallery updated

24 Sep

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One of the eye-catching features of the Sony a7R IV is its 16-image pixel-shift mode. This shoots four images centered around one position then shifts the sensor half a pixel sideways and takes another four, then another half pixel… until it’s taken 16 images. These 16 images can be turned into 240 megapixel images.

We’ve added pixel-shift images to our studio scene at several different ISO settings, along with a couple of real-world examples to our sample gallery showing both the 4-image demosaicing mode as well as the high-res 16-image mode. Just for good measure, we’ve added more standard images to the gallery as well.

Studio Scene

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Image Processing

We’ve processed the images in the studio scene using PixelShift2DNG, because it allows us to use our standard Adode Camera Raw processing to maximize comparability with other cameras in the scene.

It should be noted that Imaging Edge has a setting called ‘Px Shift Multi Shoot. Correction,’ adjustable in eleven steps between 0 and 1, that smooths some of the stair-stepping and chequerboard errors that can appear in the image. The shots in our test scene effectively have this set to 0.

Before making this decision, we compared this output with the results from Sony’s own Image Edge software. We’ve created a rollover that compares the PixelShift2DNG result to the Imaging Edge output with sharpening, noise reduction and Px Shift Correction minimized, and to the default Imaging Edge result.

DNG -> ACR Imaging Edge Modified Imaging Edge Defaults

We’ve uploaded the Image Edge-combined ‘ARQ’ files to the studio scene, but you can download the combined DNGs here:

16-image files merged using PixelShift2DNG
  • ISO 100
  • ISO 6400
  • ISO 51200
  • ISO 102400

Articles: Digital Photography Review (dpreview.com)

 
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Sony a9 firmware update adds Animal Eye AF, interval shooting and more

24 Sep

Sony has officially released the latest firmware for its a9 full-frame mirrorless camera, bringing with it Real-Time Eye AF for animals, interval shooting and more.

Firmware version 6.00 makes good on Sony’s promise to bring Real-Time Eye AF for animals to its flagship mirrorless camera. As detailed previously when Sony launched Animal Eye AF on its a7R III and a7 III, the new mode will be available to select alongside Human Eye AF in the autofocus menu.

Only one of the modes can be selected at once and the Animal Eye AF will be slightly slower than Human Eye AF due to the increased processing power required, but the a9 shouldn’t have any problem keeping up. Sony has a detailed documentation page to read up on all of the intricacies of the Animal Eye AF mode.

The firmware update also includes built-in Interval Shooting, a feature we previously detailed with the a7R III and a7 III update:

Now, it’s easy to capture between 1 and 9999 photographs in 1 to 60 second intervals. The new feature also includes an auto exposure (AE) sensitivity setting that can be adjusted between High, Mid or Low to account for changing exposures throughout the set capture time. The resulting images can also be put together into a full video using Sony’s Imaging Edge app, which will process the Raw photographs and output the final video to YouTube, PlayMemories Online and other online video services.

Another addition is the ability to select the Focus Frame Color so it’s easier to see it in various environments, as well as the ability to make the ‘My Menu’ appear when the menu button is pressed on the camera. Bugs have also been addressed to smooth out the overall stability of the a9.

Firmware version 6.0 for the a9 is available for free on Sony’s support page for macOS (direct download) and Windows (direct download).

Articles: Digital Photography Review (dpreview.com)

 
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Yasuhara announces Anthy 35mm F1.8 lens for Canon RF, Nikon Z and Sony E mount cameras

24 Sep

Budget Japanese optics manufacturer Yasuhara has announced the Anthy 35mm F1.8 manual lens for full-frame mirrorless camera systems.

The Anthy 35mm F1.8 lens (translated) is constructed of nine elements in seven groups and features a nine-blade aperture diaphragm with an F1.8 to F16 range. The front filter thread is 52mm, it has a minimum focusing distance of 40cm (15.75in) and the lens weighs 409g (14.3oz).

The lens is entirely manual and doesn’t feature electrical contacts, meaning no metadata will be sent to the camera it’s attached to and, if applicable, the ‘release without lens’ setting will need to be turned on.

The lens is set for a fall 2019 release and will be available in Canon RF, Nikon Z and Sony E mounts. No pricing information has been given at this time. We have contacted Yasuhara and will update this article if we hear back about pricing information.

Below are three full-resolution sample images captured with the lens on a Canon EOS R:

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We haven’t heard much about Yasuhara in the past and its lens lineup is rather limited, so we can’t attest to the image quality or durability of its lenses, but the company recently celebrated its seventh year in business. Yasuhara also has Anthy-branded 50mm and 85mm lenses in development (translated).

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Camera Raw, Lightroom add support for newer Sony, Panasonic and Fujifilm cameras

24 Sep

Adobe recently released the September update for its Camera Raw plugin, the software that enables users to import and edit Raw images in the company’s creative software applications like Photoshop and Bridge.

Camera Raw version 11.4.1 adds support for four additional camera models: Fujifilm X-A7, Sony A7R IV (ILCE-7RM4), Panasonic Lumix DC-S1H, and the Sony RX100 VII (DSC-RX100M7). The new camera support is also available in Lightroom and Lightroom Classic starting with versions 2.4.1 and 8.4.1, respectively.

With the updated support, users can edit RAF images from the Fujifilm X-A7, as well as RW2 files from the Lumix DC-S1H and ARW files from the two newly added Sony cameras. Adobe Camera Raw 11.4.1 is available to download for Windows and macOS for free from Adobe’s website. The Lightroom and Lightroom Classic updates should be available through Adobe’s Creative Cloud desktop app.

Articles: Digital Photography Review (dpreview.com)

 
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Sony E 16-55mm F2.8 G sample gallery

23 Sep

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The 16-55mm F2.8 provides Sony APS-C shooters with a useful 24-82.5mm equivalent range and a bright, constant aperture. We put it on a6500 to see if Sony’s claims of excellent edge-to-edge sharpness hold up – take a look for yourself.

See our Sony E 16-55mm F2.8 G
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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