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Posts Tagged ‘Sony’

Tokina announces new 100mm F2.8 1:1 macro lens for Sony E mount cameras

22 Apr

Tokina has announced the FiRIN 100m F2.8 FE Macro Lens for Sony E mount camera systems.

The lens is constructed of nine elements in eight groups and features a nine blade aperture diaphragm. It features 1:1 maximum magnification, has a minimum focusing distance of 30cm (11.8in), uses a 55mm front filter thread and includes a printed magnification scale on the extending lens barrel to add an extra visual queue when composing shots.

The lens measures in at 123mm (4.84in) long by 74mm (2.91in) diameter and it weighs 570g (1.3lbs). The Tokina FiRIN 100m F2.8 FE Macro Lens is listed for pre-order at B&H for $ 599. Included in the box is the lens, front and rear lens caps, a BH-533 lens hood and a manual.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a6400 sample gallery updated

21 Apr

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We’ve spent a little more time shooting with Sony’s new a6400, and as we work towards the completion of a full review, we’ve updated our initial gallery of sample images with additional shooting in and around Seattle. Check out our updated gallery to see what the a6400 can do.

View our gallery of real-world samples from the Sony a6400

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-T30 vs. Sony a6400

20 Apr

The Fujifilm X-T30 and Sony a6400 are two of the newest, most exciting mid-range mirrorless cameras on the market, and while they may not look similar at first glance, both include impressive features and performance specs. Chris and Jordan break down the differences to see which comes out on top.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Design and ergonomics
  • Autofocus
  • Image quality
  • Lens selection
  • Displays
  • Video
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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These are the winners of the 2019 Sony World Photography Awards

18 Apr

2019 Sony World Photography Award Winners Announced

The 12th annual Sony World Photography Awards received a record-breaking 326,997 entries, submitted from 195 countries and territories, across ten categories. The World Photography Organization, who partners with Sony on one of the largest and most prestigious photography competitions in the world, announced the winners in an awards ceremony held at the Somerset House in London.

Bologna-based Italian artist Federico Borello won the coveted Photographer of the Year ?title for his series Five Degrees. The thought-provoking collection explores the plight of male suicide in the Southern India farming community of Tamil Nadu. The region experienced its worst drought in 140 years during 2016-2017. Borello’s collection of images, based on a study from Berkeley University, examined the parallels between climate change, rising temperatures, and increased rates of suicide.

Bologna-based Italian artist Federico Borello won the coveted Photographer of the Year ?title for his series Five Degrees. The thought-provoking collection explores the plight of male suicide in the Southern India farming community of Tamil Nadu.

The purpose of the Sony World Photography Awards is to support the continuous development of photographic culture. Borello won $ 25,000 to develop future projects along with professional equipment from Sony. Sony, in partnership with the World Photography Organization, also provides a platform to new talents of the future in the Professional, Open, Youth and Student competitions with prizes ranging from $ 3,500 to $ 7,000.

Sony World Photography Awards Exhibition, which will showcase both shortlisted and winning images, is on show at Somerset House from April 18th to May 6th. It will move on to other international destinations, thereafter, including Japan, Italy, and Germany. Tickets for the London event can be purchased here.

Submissions for the 2020 competition will open Saturday, June 1st, 2019 and are free of charge.

Photographer of the Year and 1st Place, Documentary

Photo © Federico Borella, Italy, Photographer of the Year, Professional competition, Documentary, 2019 Sony World Photography Awards


About the photo: This skull of a farmer who reportedly committed suicide, pictured above, was used during a protest in Delhi. Farmers held it high and demanded a drought relief package along with a loan waiver for peasants from the state.

About the series: Could the dramatic increase in Indian farmers who take their own lives be closely connected to climate change and rising temperatures? A study from Berkeley University, found a correlation between climate change and suicide among Indian farmers.

It is estimated that 59.300 farmer suicides over the last 30 years are attributable to climate change. According to experts, temperatures in India could increase by another 5°F by 2050. Without focused government intervention, global warming will lead to more suicides all over India. But what leads farmers to this extreme act? They run into debt through investing in production, and repaying previous loans.

Despite these efforts, harvests damaged by adverse weather, and short-sighted water management lead to debt repayment failure. The impact of climate change affects global wellbeing, going beyond India and threatening mankind as a whole. This project is located in Tamil Nadu, the southernmost state of India, which is facing the worst drought for 140 years.

Open Photographer of the Year

Photo © Christy Lee Rogers, United States, Open Photographer of the year, Open competition, Motion, 2019 Sony World Photography Awards


Image Description: Rogers captured this image, underwater, in Hawaii as part of her Muses Collection. She used the surface of a pool as her canvas and leveraged effects such as the refraction of light, plus shooting at night, to create a dramatic scene she describes as ‘reality-bending.’

Youth Photographer of the Year

Photo © Zelle Westfall, United States, Youth Photographer of the Year, Youth, Diversity, 2019 Sony World Photography Awards


Image Description: Abuot is the friend of the student photographer, 18, who was testing out her equipment. She immediately knew she had captured what she wanted in the initial shot.

In her own words: ‘Abuot is my friend from school and she is one of the funniest people I know. In today’s society, with skin bleaching products and colorism flooding the media, it’s important to highlight the beauty of dark-skinned women who are often told that they are “too dark.”‘

Student Photographer of the Year

Photo © Samuel Bolduc, Canada, Student Photographer of the Year, Student Focus, 2018 Sony World Photography Awards


Image Description: The orange groves of La Terreta inspire a strong sense of pride in Villaneuva and the natives who ‘love our roots, the richness of our land, our culture, our people, our identity.’ This photo depicts the women who select the oranges that will be shipped to markets around the world.

Series Description: In Valencian, there is a word that describes pride for the land where I belong: La Terreta. A feeling that surrounds us all, be part of La Terreta is to love our roots, the richness of our land, our culture, our people, our identity.

Every time I go to La Terreta there is a sign that I see on the road that welcomes me home: the orange groves. That is why in this series I have focused on capturing daily life around the orange trees. From the farmers who plant and care for the trees to harvest the fruit, to the women who choose the oranges that will end up around the world.

The orange tree is the essence of my land, it maintains the feeling of belonging and leaves the door open to future generations, spreading a message about the value of taking care of what nature gives us as a part of our identity.

1st Place, Architecture

Photo © Stephan Zirwes, Germany, 1st Place, Professional competition, Architecture , 2019 Sony World Photography Awards


Image Description: Public pools are accessible by every class of people in Germany. The photographer has pleasant memories of summers spent in them during his childhood. He captured this overview of one of them with a drone.

Series Description: In Germany, pools are public. They are part of social and cultural life, open for all kind of social classes, a place where people spend a lot of time, especially in childhood and which leaves pleasant memories. Everybody can afford the inexpensive entrance fee. The series was shot by drone, in summer 2018 at a height of only a few meters.

1st Place, Brief

Photo © Rebecca Fertinel, Belgium, 1st Place, Professional competition, Brief, 2019 Sony World Photography Awards


Image Description: Thanks to her friend, Tracy, who invited her to the wedding where this image was captured, the photographer got acquainted with the unabashed approach to life of the Congolese community in Belgium along with the Bantu concept “Ubuntu”: that you only really become human when you are connected to everything and everyone. The bridesmaids in this photo are dancing with each other and the wedding guests.

Series Description: In August 2015 the photographer (b. 1991) was invited to a wedding by her friend Tracy. Here, the photographer was introduced to the warm, unabashed approach to life of the Congolese community in Belgium and the Bantu concept “Ubuntu”: that you only really become human when you are connected to everything and everyone.

The concept of Ubuntu seems to intertwine with the desire to belong to a group and maintain a group identity in a changing environment. Showing the ambiance but also the silent moments in between, I tried to capture the feeling of an event that seems like a true celebration, focused on joy and ritual and not on the need for a perfect venue. This project wants to place the viewer in an environment that most have experienced at one time or another at a wedding, party or a wake.

1st Place, Creative

Photo © Marinka Masséus, Netherlands, 1st Place, Professional competition, Creative, 2019 Sony World Photography Awards


Image Description: Marginalized groups are getting more vocal, gaining confidence and claiming their rightful place in society. Whether it is the LGBT+ community, people of color, women resisting objectification, and especially Down’s Syndrome, people are speaking up in favor of equal rights. With the advent of technological advances in prenatal screening, the narrative surrounding inclusion of individuals with Down’s Syndrome is especially urgent.

Series Description: This series is part of the Radical Beauty project, an international photography project which aims to give people with Down’s Syndrome their rightful place in visual arts. The young women I worked with shared a strong will to succeed.

To prove themselves. It must be beyond frustrating to be underestimated all the time. With ‘Chosen [not] to be’ I reflect on their reality – the barriers they face, society’s refusal to see their capabilities, the invisibility of their true selves – and translate their experiences visually. In the Netherlands, people with Down’s Syndrome have collected their experiences in a book, called Zwartboek (Black book).

They have offered this book to the government as a catalyst for change. Reading the collection of stories in this book broke my heart. There is so much misinformation. This misinformation leads to misconceptions and widely held preconceived notions which profoundly impact the lives of people with Down’s.

1st Place, Documentary

Photo © Federico Borella, Italy, Photographer of the Year, Professional competition, Documentary, 2019 Sony World Photography Awards


Image Description: Taken in May, 2018, this is a portrait of Rasathi, the wife of Selvarasy, a farmer who committed suicide one year ago by hanging himself in his own field. He got into debt with a cooperative society. Five Degrees is the world’s best series of work, selected from the 10 Professional category winners.

Series Description: Could the dramatic increase in Indian farmers who take their own lives be closely connected to climate change and rising temperatures? A study from Berkeley University, found a correlation between climate change and suicide among Indian farmers. It is estimated that 59.300 farmer suicides over the last 30 years are attributable to climate change.

According to experts, temperatures in India could increase by another 5°F by 2050. Without focused government intervention, global warming will lead to more suicides all over India. But what leads farmers to this extreme act? They run into debt through investing in production, and repaying previous loans. Despite these efforts, harvests damaged by adverse weather, and short-sighted water management lead to debt repayment failure.

The impact of climate change affects global wellbeing, going beyond India and threatening mankind as a whole. This project is located in Tamil Nadu, the southernmost state of India, which is facing the worst drought for 140 years.

1st Place, Landscape

Photo © Yan Wang Preston, United Kingdom, 1st Place, Professional competition, Landscape , 2019 Sony World Photography Awards


Image Description: Part of an eight-year project by Wang to explore the upheaval of natural habitats to create manmade cities in China, this photo depicts a lone quarry. A young sapling stands in the center, sustained by a bag of nutrition liquid and a pile of semi-artificial red soil.

Series Description: The series depicts the otherworldly “ecology recovery” landscape in Haidong Development Zone in Dali, Yunnan Province, China. Here, a small rural area is being urbanised systematically to create “an international leisure town and an ecology model town.”

In doing so, the topsoil of the entire area is replaced by a type of red, semi-artificial soil, which forms the base for introduced, mostly non-indigenous plants, including thousands of mature trees. Meanwhile, green plastic netting is used to cover everything unappealing to the eye, from construction waste to disused quarries.

The town’s objective here has shifted from an “ecological” concern to a cosmetic one of trying to be visually green. The images are part of an eight-year project “Forest” (2010-2017), for which the photographer investigates the politics of recreating forests and “natural” environments in new Chinese cities.

1st Place, Natural World & Wildlife

Photo © Jasper Doest, Netherlands, 1st Place, Professional competition, Natural World & Wildlife, 2019 Sony World Photography Awards


Image Description: Bob is a flamingo from the Caribbean. His life changed permanently when he accidentally flew into a hotel window and got a concussion. His caretaker, Odette Doest, is a vet who runs a local rehabilitation center for animals. Bob is an ambassador for FDOC, an organization that educates locals about the importance of protecting the island’s wildlife.

Series Description: Bob is a Caribbean flamingo, from the Dutch island of Curaçao. His life took a dramatic turn when he flew into a hotel window, leaving him severely concussed. He was cared for by Odette Doest, a local vet who also runs a wildlife rehabilitation centre and conservation charity – the Fundashon Dier en Onderwijs Cariben (FDOC). Existing disabilities meant Bob couldn’t be released, but instead he became ambassador for FDOC, which educates locals about the importance of protecting the island’s wildlife.

1st Place, Portraiture

Photo © Álvaro Laiz, Spain, 1st Place, Professional competition, Portraiture, 2019 Sony World Photography Awards


Image Description: In Chukchi culture, past, present and future are intimately linked. The Edge series portrays the idea of shared memory and science through population genetics data analysis for every participant.

Series Description: Humans have inhabited North America for at least 16,500 years since they first stepped through the Bering Strait. The Chukchi, a Paleo-Siberian tribe from the Russian side of the Bering Strait may be key to understanding how America was inhabited. In Chukchi culture, past, present and future are intimately linked.

You are not just you: you are your father, your grandfather and your great-grandfather, back to the first Bering Strait hunter. Thanks to population genetics research we are now certain that the first Chukchi hunters left their genetic footprint in all Native American people when they first settled in America. From the Navajo to the Mayans; from Alaska to Tierra de Fuego.

The Edge combines this poetic yet powerful idea of shared memory and science through population genetics data analysis for every participant. A visual journey where past and future combine, exploring a period of our history full of unanswered questions and raising new ones about our understanding of current migratory processes across the entire American continent.

1st Place, Sport

Photo © Alessandro Grassani, Italy, 1st Place Professional competition, Sport , 2019 Sony World Photography Awards


About this photo: Part of the series, Boxing Against Violence, this image depicts 16-year-old Elysèe. She is a part of city boxing club in Goma, located in the Democratic Republic of Congo. In her words: ‘I’ve been boxing for 2 years, it’s something that gives me strength and courage to defend myself and makes me feel accepted everywhere. In this city there is so much violence that you must always be ready to react. Under the ashes of this society there are latent conflicts, a violence ready to explode at any moment. Thanks to boxing I feel ready to face these dangers.’

Series Description: Goma, North Kivu. This area has sadly been labelled the “rape capital of the world” and one of the worst places in the world for women to live. All these sad records have not stopped women, whose will to go on and overcome the atrocities suffered over the years, is stronger and more alive than ever in the story I’m telling.

Some boxing clubs in Goma are the meeting place for a group of women who have found hope and passion in boxing. Here, women not only learn to throw punches, but to regain strength and the desire to fight against injustice, while dreaming and training to become the next world boxing champion. I created this series of portraits to depict this incredible group of young women living in a deeply patriarchal society, a place where women have only one way to survive: learning to fight.

1st Place, Still Life

Photo © Nicolas Gaspardel & Pauline Baert, France, 1st Place, Professional competition, Still Life, 2019 Sony World Photography Awards


Image Description: Two ingredients, combined, make something that looks disgusting but is hypnotic, nonetheless, with its composing and pops of color.

Series Description: With a touch of mockery, BEURKMAGAZINE photographs food every day through metaphors that are as poetic as they are disturbing. For BEURKMAGAZINE, society is “yuck” in a pop culture universe.

Our creative approach is composed of antithesis. Dali amused himself by composing works with irrational associations of forms, images and objects; Maurizio Cattelan, meanwhile, focuses on the subversion of symbols and provocation; we are somewhere in between, with a more general than personal point of view and a desire to give ugliness an artificial beauty.

Food is at the center of our ideas, which are magnified, manipulated and reworked to highlight our message. The pop tone, tight shots and especially the titles are an integral part of our signature.

Articles: Digital Photography Review (dpreview.com)

 
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Report: Huawei P30 Pro uses Sony image sensors and technology from Corephotonics

17 Apr

With its quad-camera (triple-camera plus ToF-sensor) the Huawei P30 Pro is, from an imaging perspective, definitely the most exciting new smartphone this year.

The analysts from French company System Plus Consulting now have had a closer look at the camera hardware, which was co-designed with Leica, and talked about their findings with EE Times. According to costing analyst expert Stéphane Elisabeth, all four image sensors have been supplied by market leader Sony.

The primary camera module uses a RYYB color filter (Red, Yellow, Yellow, Blue) instead of the usual RGGB, which increases light sensitivity, while the wide-angle and tele camera units still rely on an RGB filter. The green channel is usually used to make up the luminance (detail) information in an image so yellow filters, which let in red as well as green light, would give cleaner results than an RGGB sensor, at the cost of some ability to distinguish between colors.

Unlike some other devices, the time-of-flight (ToF) sensor is not only used for augemented reality applications but also to measure subject distance for autofocusing. Signals from all three cameras are processed to create a map of a scene and let the photographer focus on a specific object.

Arguably the most innovative element of the camera is the periscope-style tele lens, though. It is placed horizontally inside the body and a mirror angled at 45 degrees channels light into the optics and onto the sensor. This allows for an extended optical unit – generally a requirement for telephoto lenses. The result is the first 5X tele zoom in a smartphone. Super resolution and computational techniques allow for 10x digital zoom using the 5x tele unit, though image quality drops. The analysts also believe the entire camera unit has been assembled by Chinese company Sunny Optical Technology using IP from Corephotonics in Israel. The latter is particularly interesting as Corephotonics has just been acquired by Huawei rival Samsung.

Articles: Digital Photography Review (dpreview.com)

 
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Sony adds enhanced Real-time Eye AF, Animal Eye AF and interval shooting to the a7R III, A7 III

11 Apr

Sony has released firmware version 3.0 for its a7R III and a7 III full-frame mirrorless cameras, bringing enhanced real-time Eye AF functionality as well as an Eye AF mode designed specifically for animals.

Enhanced Real-time Eye AF

Sony’s enhanced Real-time Eye AF is now available in the AF-C focus mode and works with a half-press of the shutter button, or when pressing the AF-ON button. When set to function with a half press of the shutter or with the AF-ON button, Real-time Eye AF will continue to operate as usual, even if no eye is found in the scene. If you choose to map the Real-time Eye AF function to a custom button, you will lose out on this functionality.

Firmware version 3.0 seen installed on an a7 III camera.

Real-time Animal Eye AF

It’s not just human eyes Sony is focusing on either. Firmware version 3.0 brings — for the first time ever in an interchangeable lens camera — Animal Eye AF, a new autofocus mode that uses AI-trained algorithms to pinpoint and focus on the eyes of wild animals and pets.

Like Real-time Eye AF, Animal Eye AF works with AF-C focus mode and is activated with the half press of the shutter button or when assigned to the AF-ON button. It’s worth noting however, that you must choose between the ‘Human’ and ‘Animal’ Eye AF mode in the menu before shooting. Sony also notes that due to the large amount of data required to track animal eyes, the Animal Eye AF likely won’t perform as well as the Human Eye AF.

Interval Shooting mode

Firmware version 3.0 also brings an interval shooting mode first seen in the Sony a6400. 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. Below is a video shared by Sony showing a video produced with the new Interval Shooting mode.

Other changes found in firmware version 3.0 for a7R III and a7 III cameras include support for Sony’s wireless remote commander RMT-P1BT, the ability to assign the ‘Menu’ button to a custom key and general stability improvements.

As for the a9, Sony anticipated firmware version 6.0 will be released Summer 2019 and will include Animal Eye AF and the interval shooting modes now available for the a7R III and a7 III.

Firmware update 3.0 is available to download now on Sony’s website via the Sony a7R III support page and the Sony a7 III support page. As the firmware was only released at the time of publishing this article, we will be spending time with the firmware update to provide more hands-on insight at a later time.

Press release:

New Firmware Update for Sony a7 III and Sony a7R III Boosts Eye AF Capabilities and Adds Interval Shooting for Time Lapse

Sony’s acclaimed a7 III and a7R III mirrorless cameras have received an exciting firmware update—Software Version 3.0— that enhances Real-time Eye AF performance and adds Real-time Animal Eye AF and interval shooting for time lapse.

Real-time Eye AF

Software Version 3.0 brings Real-time Eye-AF to the a7R III and a7 III, an AI-driven, enhanced eye detection system that’s based on the results of machine learning. Through machine learning, Sony has created a system that can detect—and focus on—the human eye even if the subject is looking down, partially blocked in the frame, turning or backlit. This feature is available in AF-C mode with a simple half-press of the shutter button.

Real-time Animal Eye AF

As with human eye recognition, Software Version 3.0 brings AI-driven animal eye detection to Sony cameras for the first time. Advanced subject recognition allows the a7 III and a7R III to detect and track animal eyes, and is the first step in a robust animal-tracking AF system.

The development of Animal Eye AF performance will continue, increasing the range of animals recognized by the system as well the system’s ability to track their movement.

Interval Shooting

This new software adds a built-in interval timer that can be set for anywhere between 1 and 60 seconds, with a total number of shots from 1 to 9999. AE tracking sensitivity is available to be adjusted to “High”, “Mid” or “Low” in order to reduce changes in exposure.

For more information on Software Version 3.0 for the a7R III and a7 III cameras, please visit AlphaUniverse.com.


Update (April 11, 2019): Text edited to clarify Real-time Eye AF and Animal Eye AF work with AF-C focus mode.

Articles: Digital Photography Review (dpreview.com)

 
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Sony a6400 review in progress

10 Apr

Introduction

Sony’s a6400 is a compact 24MP mirrorless interchangeable lens camera with an APS-C sensor that will serve plenty of photographers from family documentarians to pro shooters looking for a lightweight second body. The big news is that it has a new processor based on that used in Sony’s sports-shooting flagship a9 which enables ‘Real-Time Tracking’ autofocus, which is one of the most effective autofocus implementations we’ve yet seen. It’s also among the easiest to use, once you’ve gotten it set up.

Key specifications:

  • 24MP APS-C sensor
  • 425-pt phase detection AF system with Real-Time Tracking
  • Tilting screen, 180° up, 90° down
  • 2.36M-dot electronic viewfinder
  • New Bionz X processor
  • ISO range from 100-32000
  • 11fps burst shooting (8fps with silent shutter)
  • Interval shooting option added
  • 4K/30p video capture
  • Mic input, no headphone output
  • 410 shots per battery charge (per CIPA)
  • Wi-Fi with NFC and Bluetooth

The Sony a6400 officially replaces the older a6300: it uses the same sensor but comes with some subtle enhancements aside from the impressive autofocus capabilities. It arrives in an increasingly crowded field, though, with cameras like the X-T30 from Fujifilm and the EOS M50 from Canon being similarly priced and with similar sized sensors. Do the enhancements make the a6400 the standout in this crowd? Find out its strengths – and weaknesses – in the pages to follow.

The a6400 is available now for $ 899 (€1049) body-only, $ 999 (€1149) with a 16-50mm F3.5-5.6 Power Zoom kit lens and $ 1299 (€1449) with an 18-135mm F3.5-5.6 zoom.


What’s new and how it compares

Sony’s a6400 has an awful lot of refinements on the inside – take a look.

Read more

Body, handling and controls

For better or for worse, the a6400 handles just like the a6300 before it. And the a6000 before that.

Read more

Image quality

The a6400 takes some fantastic photographs, and in particular, has some welcome tweaks to its JPEG engine.

Read more

Impressions and sample gallery

Sony’s new Real-Time Tracking is really impressive, but my goodness, can’t we get a front control dial?

Read more

Specifications

Want the full list of specifications for the a6400? We have you covered.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Which Crop Sensor Sony a6000 Series Camera Should You Buy?

10 Apr

The post Which Crop Sensor Sony a6000 Series Camera Should You Buy? appeared first on Digital Photography School. It was authored by Suzi Pratt.

If you’re on the market for a high-quality compact camera, you can’t go wrong with the Sony a6000 series. Ever since the original a6000 debuted, this camera has topped multiple best-seller lists and remains popular among enthusiasts and professionals alike. With the recent release of the Sony a6400, there are now four cameras in this series to choose from. This article will explain some key differences between all camera models with recommendations on which camera is best for you.

Sony a6000-Which Camera-01

History

Sony debuted its first high-end mirrorless camera in 2010. However, 2014 was the year that the Sony a6000 was introduced. This compact crop sensor mirrorless camera has been a hit among consumers and professionals alike. Over the last few years, Sony has released several updated versions of this camera that include features such as 4K video recording, IBIS (5-axis in-camera image stabilization), and better low light performance. Interestingly, Sony has not discontinued any previous models. So right now, as of early 2019, you can still buy any of these cameras brand new, directly from Sony.

  • 2014: the original Sony a6000
  • Early 2016: the Sony a6300
  • Late 2016: the Sony a6500
  • 2019: the Sony a6400

What’s the same

Despite some key differences, these four generations of Sony crop-sensor mirrorless cameras have a lot in common. Namely, they have almost the exact same camera bodies. There are a few minor differences in size and weight, with the a6500 weighing the most at 16 ounces. All four cameras also come with a 3-inch LCD screen and a 1-centimeter OLED viewfinder. All cameras capture images of approximately 24-megapixels in size at 11 frames per second. Finally, battery life is also about the same, lasting about 300-350 shots.

Still photography differences

We start to see noticeable differences when looking at key photography specs such as:

ISO performance

With every new release, Sony ups the limit in terms of ISO range. The a6000 has the smallest range of ISO 100-25600, while the a6400’s high range ISO is the most at 102400. Both the a6300 and a6500 have the same ISO range of 100-51200.

Sony a6000-Which Camera-02

Sony a6300 shot at ISO 3200

Autofocus Points

Another key difference is in the number of autofocus points. The a6000 sits at the bottom of the pack with 179 phase-detection AF points and 25 contrast-detection AF points. Both the a6300 and a6500 have 425 phase-detection AF points with 169 contrast-detection AF points. Finally, the a6400 offers the best autofocus with 425 phase-detection points and 425 contrast-detection points.

Silent Shooting

One of the biggest perks of shooting with mirrorless cameras is silent mode shooting that truly is silent. When enabled, silent shooting allows you to shoot stills in stealth mode without the telling snap of the shutter going off. It’s an ideal feature for shooting weddings or events that frown upon extraneous noise. Silent shooting is a feature lacking on the a6000. The a6300 and a6500 can shoot in silent mode at up to 3 frames per second (fps), while the a6400 is at 8 fps.

Video Features

Which camera should you buy?

Best for beginner photographers on a budget

If you’re a beginner photographer on a budget, the Sony a6000 is still a fantastic deal. For about $ 500 for the body-only or $ 600 with the kit lens included, you can get one of the most popular mirrorless cameras on the market. The main features you’ll be lacking are ultra fast and accurate autofocus, the very best low light photo performance, and key video features such as 4K video recording and in-body stabilization. However, you can still shoot up to 1080p video if you choose, and the still images are decently crisp. Bottom line: get this camera if you are a casual still photographer on a shoestring budget.

Sony a6000-Which Camera-02

Best for intermediate photographers or budding videographers

If you happen to have the extra budget, consider the Sony a6300 as the ideal intermediate camera of the bunch. There are many improvements for both photography and videography. This camera got a major sensor upgrade with faster and more accurate autofocus including 425 phase detection points. Low light photos and videos are also vastly improved.

Video features also got a major boost with the ability to record in 4K, or 120 fps for 4x slow motion at 1080p. The a6300 also allows for shooting in S-Log, a flat video profile that allows for easier color grading in post-production.

Finally, the a6300 also debuted with a more solid, magnesium alloy camera body as opposed to the a6000’s mostly plastic build.

Bottom line: there are big autofocus and low light performance enhancements to make this a much improved still photography camera. But the biggest reason to buy this camera over the a6000 is if you’re in need of modern video features.

Best for intermediate photographers or advanced videographers

A few months after the a6300 came out, Sony pulled a strange move and released yet another camera: the a6500. This camera is essentially the a6300, but with 3 key new features. First, they added 5-axis in-body camera stabilization. Also known as IBIS, this feature stabilizes the a6500 so you can shoot steady handheld video or low-light photos no matter what lens you are using. In contrast, the other a6000 cameras offer only 2-axis stabilization when using a stabilized lens. Unfortunately, battery life shrinks when IBIS is on.

The a6500 also adds a touch screen rear LCD and slightly faster in-camera image processing.

Bottom line: If you absolutely need IBIS for video or ultra-fast image processing for say sports photography, get this camera. But if you don’t need either of those features (and most hobbyists or beginning photographers won’t), save the extra cost and put it towards a lens instead.

Sony a6000-Which Camera-01

Best for Vloggers or pro videographers

This year, Sony pulled another strange move by releasing the a6400. It sits right in between the a6300 and a6500. This camera features a new image sensor and processor that work together to enhance autofocus performance and speed. There are also significant upgrades in video. The a6400 allows for high dynamic range capture, plus interval recording for time-lapse video. Also, Sony finally delivered a rear LCD screen that can flip up 180-degrees. This is ideal for vloggers or those who want to monitor footage while in front of the camera.

However, there are a couple of flaws with the a6400. First, the flip screen stands directly in the way of the hot-shoe mount. If you’re trying to use the flip screen with a light or microphone on the camera, forget it. Second, the a6400 omits 5-axis in-body camera stabilization (IBIS), offering only 2-axis stabilization if you use a stabilized lens.

Bottom line: The a6400 offers a new sensor, processor and other features. But these things are more important to professional photographers and videographers. Unless you need IBIS, a flip screen, or ultra fast camera performance, you’re better off with another camera in the a6000 line.

Sony a6000-Which Camera-04

No matter which camera you choose…

Remember that any of these cameras can be purchased used or sold if you decide to upgrade in the future. If you take care of your camera gear, these cameras retain their value and are fairly easy to sell.

The post Which Crop Sensor Sony a6000 Series Camera Should You Buy? appeared first on Digital Photography School. It was authored by Suzi Pratt.


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CP+ 2019: Sony Interview – ‘First full-frame, then APS-C’

06 Apr
Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group.

At the CP+ show in Yokohama Japan last month, we sat down with executives from several major manufacturers, including Sony. In our conversation with Sony’s Kenji Tanaka, we discussed various topics, including how the full-frame mirrorless market has evolved, and why he believes Sony will maintain its competitive edge.

Please note that this interview was conducted partly via an interpreter, and has been edited for clarity and flow.


How do you think the full frame market will evolve, now that lower-cost products like the Canon EOS RP are becoming available?

As more competitors jump into this market, I think that’s a very good thing, because customers have more choice. Our aim is to grow the industry. So when competitors jump in, that’s good.

A wide range of options is a very good thing

The EOS RP is a different kind of challenge from Canon, for entry-level customers. When they eventually enrich their entry-level lenses, that would be a very powerful story. But at this point, I cannot judge who the target customer is [for the EOS RP]. Thinking about the camera industry in the long term, a wide range of options is a very good thing. I’m very positive about it.

Canon would probably say that the RP is intended to appeal to entry-level customers and first-time ILC buyers. How do you intend to attract those kinds of photographers?

This is our one-mount strategy, which only Sony has. Initial entry is in APS-C, and the next step is full-frame. I want to make a kind of ‘step up ladder’.

Sony’s a7 III is one of the most competitive cameras in its class, offering advanced stills and video features at an attractive price. But its MSRP is undercut by the new Canon EOS RP.

Sony is no longer alone in the full-frame mirrorless market – are there any particular companies that you regard as more serious competitors than others?

Every one of our competitors is strong, and we respect each of them. For the [sake of] growth in the industry, we’re thinking about computational photography, and how to incorporate these technologies.

I first encountered this kind of technology more than 20 years ago, and it’s created a new future for imaging. So [while] of course we’re very respectful of our current competitors, the next step is we have to learn more things from computational photography.

So perhaps your most important competitors right now don’t make cameras?

That could be.

How will Sony maintain its competitive lead?

Sony is a technology company that provides technology in which customers may find value. I want our technology to be the reason people are attracted to Sony, not the price. Of course the balance is very important. When you get to price points of $ 3000, $ 4000, that’s a different matter, but the most important thing for Sony is technology. That creates customer value.

Technology will lead customers into the future.

Technology will lead customers into the future. That’s the kind of scenario we want to create. Last year we said that speed and AI would be our new technology drivers, and since then other mirrorless companies have tried to develop these technologies. It’s already happening.

Previously, our main target was professional, but this year we announced the a6400, not only for professionals, targeted a little more widely. We need to create a message for a different kind of customers, but basically our products contain advanced technology, and advanced technology make [makes] customers happy to shoot. I want [Sony] to become a company that drives technology – that’s the kind of message I want to send.

Smartphones like the Google Pixel 3 have changed the way that millions of us create images, and have become primary cameras for an entire generation of photographers.

Do you think Sony has an advantage here?

Yes, of course. We have an R&D section within Sony, it’s a real asset. The world of imaging is growing, and the speed is getting faster. I want to invest in the kinds of technologies that drive the world of imaging, and […] create a cycle. Computational photography is one aspect, lenses are another. I’m very positive for the future. At my core, I’m an engineer. I want to create a camera to enrich your life as a photographer.

How long have you been working on technologies like AI?

It’s very difficult to determine a starting point, but ten years ago I was an engineer, and at that time my interest was neural networks. So the seed for the technology goes back more than ten years. More recently, about five years ago we started developing deep learning. Of course at the same time our team was trying new technologies so it’s very difficult to say exactly when we started. We’re developing new technologies all the time, Sony is that kind of company.

Is it more important to Sony that you sell more cameras, or make more profit per camera sold?

Haha, do I only have two choices? the most important thing really is technology. That’s what creates new features. To develop new technologies of course we need money. Sometimes our strategy is [to create] high value products, and sometimes our approach is to increase the volume of customers.

Sony’s new APS-C a6400 (left) offers incredibly advanced autofocus and high-speed shooting features in a very compact body.

Some people have the perception that Sony is more focused on full-frame than APS-C, is this accurate?

Full-frame is the best platform to deliver our technologies. But of course these technologies need to cascade down for APS-C customers. So we will focus on both groups of customers, but [the] timing is a little different. First full-frame, then APS-C. It has been said that Sony has ignored the APS-C market, and our answer is the a6400.

Do you think there’s an opportunity for Sony to create GM lenses for APS-C?

Yes, I do, but I don’t know how they would be branded. Maybe not as ‘GM’, but high quality lenses are definitely an option [for development].

Do you think APS-C is a format that could be used by professionals?

Honestly speaking, for still photography, full-frame is [more appropriate] for professionals. But for video, APS-C is good for both amateur and professional customers, because it’s size is close to Super 35mm, [which is a] video Image sensor format.

Are you interested in creating an a7S-type product, geared towards video, within the APS-C lineup?

That is possible, I think. For example, looking at the US market, at the BlackMagic Pocket Cinema Camera, I think that’s a wonderful product for professionals. Not only for high-end amateurs. The sensor size of that camera is Micro Four Thirds, and [Sony’s] APS-C is bigger.

Mr Tanaka has expressed a keen interest in the BlackMagic Pocket Cinema 4K Camera, could hint at some of Sony’s future plans.

Are you interested in developing cine lenses for APS-C?

It’s possible, but looking at the market size, full frame is maybe a bigger opportunity. If we focused only on cine, the market would probably be too small, but the so-called ‘creators’ market is a little bigger.

What kind of products do you think would suit this market?

I have many things in my mind but I can’t tell you the details today! As you know well, stills and movies are completely different. Some people think that 30 or 60fps stills shooting is the same as shooting a movie, but the mentality of stills photographers and videographers is completely different. That kind of fusion, I don’t think [it’s realistic]. We want to create new cameras for both kinds of creators.

So you don’t think it’s possible to create a perfect ‘fusion’ camera for stills and video customers?

No.

Have you always believed that? Sony has really been a key developer of hybrid video-enabled cameras, like the a7S line.

Many people have enjoyed the a7S II as a video camera, but originally we designed it for stills photography users. So if we’re going to create products [specifically] for video shooters, we’ll have to modify them in the future.

It’s easy to add 4K/60, but beyond these specs, a lot of customers have other demands

How do video shooters want the camera to be changed?

We’ve had a lot of feedback from the market, including from DPReview! The basic expectation is for things like 4K/60, 10-bit 4:2:2, and a lot of manufacturers are doing that right now, but I want to think in a different way and create something that goes beyond the expectations of our customers. It’s easy to add 4K/60, but beyond these specs, a lot of customers have other kinds of demands, and that’s what we’re researching.

Judging by Mr Tanaka’s comments, the aging a7S II might be replaced by a much more revolutionary product that ‘goes beyond the expectations’ of his customers.

Your new cameras can shoot HLG video for the new generation of displays, how will this technology influence stills cameras?

JPEG is an old format, limited to 8-bit. Movies are going to 10-bit, and stills should become 10-bit as well. So of course we’re researching how to compress stills to 10-bit. The new standard will be 10-bit. There are many such formats already in the market, but we need to study which one is best for the customer.

Smartphones have high dynamic range displays, so the [impetus] will probably come from smartphones. Television development is a bit slower, but everything will be 10-bit [eventually]

The Tokyo 2020 Olympics is just a year away – do you think that by then we’ll see a lot of sports photographers using Sony?

We’re just beginners in that field, compared to Canon and Nikon. We’re currently going step by step, taking feedback from journalists and sports photographers, and we’re running a positive cycle, right now. What I can say today is that you can expect activity [from Sony] for big sports events.


Editors’ note: Barnaby Britton

Technology, technology, technology! That’s the message from Mr Tanaka this year, above all others. Although Sony is (finally) facing some serious competition in the full-frame mirrorless market, it appears that Mr Tanaka welcomes the company. He certainly doesn’t appear to fear the competition. As he says, while Sony respects all of its competitors, its most important rivals might not be the ones currently making cameras.

As a technology company first and foremost, former engineer Mr Tanaka confirms that Sony has been researching AI and deep learning for at least a decade. Lest we forget, Sony also makes smartphones, and in fact the camera and smartphone divisions were recently merged. When Mr Tanaka talks about wanting to invest in ‘the kinds of technologies that drive the world of imaging’ I’d be surprised if he’s thinking exclusively of the traditional consumer digital imaging market.

Inside that marketplace though, it’s clear that Mr Tanaka views full-frame as the preeminent format for delivery of Sony’s technologies to photographers, as well as being a superior platform for professional users. Given the company’s focus on attracting enthusiast and professional users – and that whole ‘technology, technology, technology!’ thing, it shouldn’t be a surprise therefore that Sony’s APS-C lineup has been pretty much put on ice the past couple of years. Mr Tanaka did hint at greater emphasis on APS-C in the near future though, including – crucially – the possibility of some high-end lenses to come.

It seems possible that Sony is interested in developing a dedicated, compact, affordable large-sensor dedicated video camera

There’s no such thing as a ‘perfect’ stills / video camera according to Mr Tanaka, and perhaps the most surprising thing to come out of this interview, for me, was his obvious interest in the Blackmagic Pocket Cinema Camera 4K. It’s unusual for a senior executive to so openly – and so specifically – praise a competitor product in an interview with press, and I doubt it was a throwaway comment. From this, coupled with Mr Tanaka’s reminder that APS-C is a bigger format than Four Thirds, and his earlier comment that APS-C is close to Super 35, ‘a video image sensor format’ we can draw some tentative conclusions.

It seems at least possible that Sony is interested in developing a dedicated, compact, affordable large-sensor dedicated video camera. That’s the kind of product that could prove disruptive. Even if such a camera doesn’t come to fruition, Mr Tanaka’s slightly dismissive remark that tinkering around the edges of the a7S II’s feature set, adding things like 4K/60 is ‘easy’ should give filmmakers hope. Sony, historically, doesn’t do ‘easy’. Whatever they end up looking like, it seems likely that the next generation of video-centric cameras from Sony will be anything but iterative.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T30, Sony a6400 added to studio test scene

29 Mar

Fujifilm’s X-T30 and Sony’s a6400 are both highly capable midrange cameras, with APS-C sensors, similar resolution, excellent autofocus systems and similar pricing. So how do they stack up in our standard studio test scene? Take a look for yourself while we continue working through our full reviews.

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Articles: Digital Photography Review (dpreview.com)

 
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