We compare two popular APS-C cameras: the Fujifilm X-S10 and the Sony a6400. In a bizarre twist, Chris is left to argue with himself (literally). Meanwhile, Jordan is stuck in Pentax K-01 video purgatory. It’s enough to make your head spin.
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Articles: Digital Photography Review (dpreview.com)
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Earlier this week, Sony Nordic accidentally sent out a newsletter with details of the next firmware update for its a7S III mirrorless camera. Now, firmware version 2.00 for the a7S III is live and ready to download for all.
As mentioned in our initial coverage, firmware version 2.00 now includes Sony’s S-Cinetone color profile, first seen in its F6X Cinema Line camera and ‘inspired by the color science used in Sony’s flagship VENICE cinema camera.’
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The color profile, which Sony says ‘delivers natural mid-tones, plus soft colors and gorgeous highlights’ can be used for monitoring only or as a ‘baked-in’ look so the footage is graded for less work in post-production. The update also improves Active Mode with 5-axis optical in-body image stabilization.
You can download firmware version 2.00 for the Sony a7S III on Sony’s support website. Sony notes macOS Big Sur is not supported at this time.
Articles: Digital Photography Review (dpreview.com)
The Sony a7 III and Fujifilm X-T4 aren’t cameras we would normally compare head-to-head. Yet, they’re two of the most popular enthusiast models available today. Watch Chris and Jordan duke it out over which one is best.
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Articles: Digital Photography Review (dpreview.com)
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The Sony a1 is the company’s flagship interchangeable lens camera, with a 50MP sensor that can capture bursts of images at 30 frames per second and records 8K video. That sensor also helps power the a1’s capable autofocus system, which comes with updated machine learning derived algorithms for detecting human faces and eyes, as well as the eyes of many types of animals and birds.
Sony is billing the Alpha 1 as, well, the one camera that can do just about anything you’d need it to do, whether you’re shooting fast action, landscapes, or high-end video. It’s also in a reasonably sized body, so wouldn’t be out of place for use in reportage or travel photography, and its Ethernet and high-speed USB-C ports speak to its ambitions as a pro-sports machine.
Jump to:
What’s new and how it compares
Body, handling and controls
Initial impressions and sample galleries
Full specifications
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| Not just a speed demon: The Sony a1’s 50MP sensor provides plenty of detail for studio shooting, too. Click or tap through for the full image (beware: it’s 43 Megabytes). Out-of-camera JPEG. ISO 200 | 1/160 sec | F11 | Sigma 105mm F2.8 Macro Art |
From the flash sync speeds to the huge and high-res electronic viewfinder, it really looks like Sony’s thrown just about everything possible into the a1, and the result is a hugely impressive camera for all types of uses. And of course, given the high price of entry, it should be. So let’s get started, first with a look at all the new tech that the a1’s got inside it.
The Sony a1 will be available in March 2021 for a suggested price of around $ 6500 / €7,300 / £6,500.
Articles: Digital Photography Review (dpreview.com)
For most photographers, the digital darkroom is based around payware or subscription software from the likes of Adobe, Capture One, DxO or one of their many rivals. But if you’re a Sony shooter, there’s an option which is available entirely free of charge along with your camera purchase: Sony Imaging Edge Desktop.*
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| Sony Imaging Edge Desktop version 3.0’s user interface. |
In this article, we’ll take a look at how Imaging Edge Desktop compares with the 800-pound gorilla in the room, Adobe Camera Raw, whose algorithms also underpin the company’s popular Lightroom Classic application. As with previous articles in this series, I’m limiting myself only to still image editing in the interests of keeping things to a readable length, and won’t address features like image management, tethering or printing.
*Sony does include a version of Capture One, called ‘Express,’ with camera purchases, which we’ll investigate in a future article.
This comparison is based upon the most recent versions of each application at the time of writing. For Adobe, that’s Camera Raw 13.0 and Bridge 11.0. For Sony, it’s Imaging Edge Desktop 3.0. My computer is a 2018 Dell XPS 15 9570 laptop running Windows 10 version 1909.
To ensure neither Adobe nor Sony had any advantage out of the gate, I’ve aimed to reproduce, as closely as possible, the look of already-processed images from our galleries, without any prior knowledge as to the recipes behind them.
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| Adobe Camera Raw version 13.0’s user interface. |
I’ve chosen images from the Sony A7 III (ILCE-7M3) for use in this comparison, as its been available for long enough for Adobe to fine-tune its rendering, while its price tag and resolution are broadly similar to those of the Canon EOS R and Nikon Z6 used in my previous manufacturer software comparisons.
Sharpness and noise reduction were left at their default settings to avoid overcomplicating things, while lens corrections were enabled for both applications. Images processed in ACR were saved at JPEG quality 11, just as used in our galleries. For Imaging Edge Desktop, which offers a choice of just four different compression levels, I used the maximum quality.
Of course, the most immediately obvious differences between ACR and Sony’s Imaging Edge are their camera support and price tag. You already paid for Imaging Edge when you bought your Sony camera, so it’s effectively free. While it only supports Raws shot by the company’s own cameras, you can expect full Raw support for every Sony camera to be available pretty much immediately upon release.
By contrast, ACR requires a recurring subscription fee. It supports a vast range of cameras from many manufacturers – including every single interchangeable-lens or large-sensor Sony camera made to date – but that support can sometimes take a while to arrive after the release of new models. It’s also sometimes more limited than that in first-party software, especially for older models.
For example, while Adobe offers ‘camera matching’ profiles for most recent Sony cameras, it’s not yet available for the recently-launched A7C. Nor has it been provided for any Translucent Mirror model made before 2014, or any Sony DSLR model at all.
Imaging Edge Desktop offers a twist on a modal interface. The initial install is merely a launcher which in turn installs and then launches separate viewer, editor and tethering apps. These can run separately or simultaneously, and can span multiple monitors. The editor app can’t browse entire folders of images, but you can open individual shots directly from within and stay out of the viewer app entirely, should you choose. Web help is available through the menu system, but it’s quite abbreviated.
The user interface is really quite straightforward and very clean, although it does involve a lot of scrolling. Buttons in Imaging Edge and the individual apps launch the other apps, and the editor sports a single scrollable toolbar whose 14 sections can be rearranged or hidden. Thumbnails of currently-opened images line the bottom of the screen, but they’re tiny and not terribly useful even at Full HD resolution, and lots of space is wasted on the filenames. Nor can you move them to the side of the screen, unfortunately.
Unlike most rivals, Imaging Edge doesn’t treat your Raw files as sacrosanct
Sliders move smoothly, but some control names are a bit unintuitive like “overshoot” / “undershoot” for the sharpness control, or “magnification chromatic aberration correction”, neither of which are explained in help. There are also no automatic controls other than those for white balance, dynamic range and noise reduction.
Sadly, while Imaging Edge plays nicely with pens and touch screens, it doesn’t support 4K monitors terribly well. Many user interface elements are too small for comfortable use, and Windows’ scaling setting is mostly ignored. Imaging Edge also doesn’t follow Windows keyboard conventions like tabbing between controls, and you can’t customize the keyboard shortcuts at all. And there are some occasional bugs; for example on canceling processing of a brief six-image batch, the program stopped functioning for multiple minutes and had to be force-closed.
That’s doubly worrisome because unlike most rivals, Imaging Edge doesn’t treat your Raw files as sacrosanct. Instead of using a database to store its edits, or putting them in sidecar files in the same folder, Sony instead saves them in the headers of the original raw file.
The company has already been bitten by this approach once in the past with a separate application, PlayMemories Home, and in 2018 had to release a tool to correct that app’s corruption of Raw files. To avoid this issue, I recommend using Imaging Edge solely with copies of backed-up images.
Curiously, batch processing is not available in Edit mode, even if you have multiple images open. It’s available only from the Viewer window, and provides fairly limited possibilities for renaming your output images. Imaging Edge also only has a choice of four compression levels, and there’s a huge gap in quality between the highest (~15MB/image) and second-highest (~5MB/image) levels.
Compared to ACR, Sony Imaging Edge’s performance is reasonable, but it’s not going to light any fires. Where ACR takes just 12 seconds to process six images, Imaging Edge takes around 21.5 seconds when saving highest-quality JPEGs. Admittedly, dropping the quality level one step reduces this to just a hair under 20 seconds, but it also slashes files sizes by two-thirds.
While previews are two-pass, they update fairly quickly, usually within a second or two of releasing the control. This is still nowhere near as quick as Adobe’s near-real time previews, however. And they sometimes don’t update the whole screen at once, with a tile or two of the overall result occasionally needing a few additional seconds to finally fill in.
Sony Imaging Edge Desktop’s editing controls are broadly similar to those on offer in Adobe Camera Raw, including the highlight and shadow sliders that many other apps lack. It also allows display not just of clipped highlights and shadows, but out-of-gamut colors. It foregoes ACR’s texture and vibrance controls, but adds a D-Range Optimizer slider with auto mode.
D-Range Optimizer does a pretty good job of lifting shadows, but the highlight and shadow sliders are nowhere near as effective as their Adobe equivalents, and the highlight slider in particular didn’t seem capable of recovering much detail at all from blown highlights, even when ACR could do so with ease. I found the best results with more difficult images tended to send me to the curves tool, whereas Adobe could get the results without needing to fiddle with curves.
By default, Imaging Edge uses higher levels of noise reduction than Camera Raw, and Adobe produces crisper results out of the box. With that said, you likely won’t notice the difference unless you’re pixel peeping or making large prints, where Adobe’s NR has a finer-grained look.
Noise reduction levels in both apps can be dialed back from that default. Imaging Edge also offers an “off” setting, but Sony’s app still applies more noise reduction than Adobe’s, even when that’s used. Setting NR to off definitely applies less noise reduction than simply zeroing out the sliders in manual mode, though, especially when it comes to chroma noise.
I found ACR to do a better job with skin tones. Imaging Edge tended a bit towards the magenta, but in turn delivered more convincing skies and foliage than ACR. Of course, you can improve color in either app by fiddling with the sliders, but ACR has an auto mode to get you in the ballpark, whereas Imaging Edge requires you make corrections manually.
Sony Imaging Edge Desktop looks and feels more modern than some of its rivals from other camera manufacturers, but I still found Adobe Camera Raw more pleasant to use. And Adobe also wins in terms of performance, although Sony certainly doesn’t trail in this respect as badly as some of its rivals.
In terms of image quality, things were rather closer, however. Imaging Edge is capable of delivering good results with most images, although Adobe clearly still has an edge when it comes to recovering blown highlights and blocked-up shadows. And Sony’s highlight slider, in particular, proved rather less effective than I’d hoped.
But if you’re trying to slash your budget to a minimum, Imaging Edge Desktop delivers pretty decent image quality for most shots, and does so with reasonable performance and versatility. There’s definitely money to be saved by switching away from a monthly subscription, especially if you tend to stick with just the basic tweaks and don’t often make major edits to your photos.
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Articles: Digital Photography Review (dpreview.com)
The post Sony Announces the a1, Its Best Mirrorless Camera to Date appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Sony has announced its latest full-frame mirrorless offering, the Alpha 1.
A groundbreaking camera that offers a shocking combination of speed, resolution, and video capabilities, the a1 somehow manages to speak to action photographers, wildlife photographers, and even all-around professional shooters without sacrificing on, well, anything.
For several years now, Sony has maintained the same four full-frame camera lineups:
(Sony also recently released the a7C, a compact full-frame model.)
Note the division of labor here, with one camera tailored toward action photographers, another tailored toward videographers, and yet another tailored toward landscape shooters.
But now, with the launch of the Sony a1, the division between action photography, landscape photography, and even video seems to have crumbled, leaving Sony users with a camera clearly more capable than the a7 III, and even offering a leg up over the a7S III, the a9 II, and more.
So what does the Sony a1 offer?
First, check out the sensor:
50 MP for intense cropping abilities, plus it gathers enough detail to satisfy professional landscape shooters.
Then there’s the autofocus, which packs “improved real-time Eye AF for humans and animals, and new real-time Eye AF for birds.” Sony is well-known for its top-tier autofocus algorithms, so don’t be surprised if the bird Eye AF makes the a1 a hot choice among serious bird photographers.
You also get in-body image stabilization (Sony claims up to 5.5 stops), as well as a lightning-fast continuous shooting speed (30 frames per second using the electronic shutter).
The a1 also boasts one of the most impressive electronic viewfinders on the market. With a whopping 9.44M-dots of resolution, you should have a clear view, even in low light, which is always a plus for event photographers, night street photographers, and wildlife photographers, to name just a few.
Finally, there’s the video capabilities. The a1 can record at 8K/30p, as well as 4K/120p; the former capability is what puts the camera above the Sony a7S, at least in terms of raw recording power. While 8K is likely overkill for casual videographers, I can highly recommend the a1 for serious videographers and true hybrid video/stills shooters.
Of course, you should also consider the price: $ 6499.99. In other words, the a1 costs more than the Nikon Z7 II, more than the Canon EOS R5, more than the Sony a9 II, and more than every other full-frame mirrorless camera on the market.
But the a1 really is one heck of a camera, and those who can afford it are bound to be impressed (to say the least!).
Now over to you:
What do you think about the Sony a1 announcement? Are you excited? Apprehensive? Frustrated? Share your thoughts in the comments below!
The post Sony Announces the a1, Its Best Mirrorless Camera to Date appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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Sony has announced the Alpha 1, a fast, high-res 50MP camera capable of shooting at 30 fps with no blackout. It is capable of 8K video.
It uses a stacked CMOS sensor and a pair of new Bionz XR processors, allowing silent, no-blackout images at up to 30 fps. Despite having twice as many pixels as the a9, the a1 promises to have 1.5x less rolling shutter. This allows flash sync at up to 1/200 sec with the electronic shutter or 1/400 sec using the mechanical shutter.
The a1 can shoot 8K video at up to 30p using its full width. This uses all its horizontal pixels, capturing 8.6K footage and downsizing it to 8K to provide improved resolution. 8K footage can be captured in up to 10-bit 4:2:0 using the XAVC HS format. The camera uses a similar heat-dissipating design to the a7S III, allowing it to record 8K for up to 30 minutes, if the temperature warnings are set to their most tolerant setting.
It becomes the first Sony camera to offer Lossless compress Raw and can also capture HEIF for 10-bit compressed capture. It uses a pair of CFExpress Type A card slots that, like those in the a7S III, also accept SD cards.
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| The new processors also bring the improved menu system first seen in the a7S III. |
The camera’s in-body image stabilization system is rated at 5.5EV, as with previous cameras. This system is also used to offer 4 or 16-shot high-resolution modes, allowing images of up 199MP to be combined using Sony’s Imaging Edge desktop software.
The a1 pushes the autofocus forward from the a9 cameras, offering 92% coverage and now expanding its ‘Real-time Eye AF’ to work with birds, as well as animals and people. It boosts the number of AF and AE calculations it can do to 120 per second: twice as many as the a9 performs.
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The camera has a 9.44M dot OLED viewfinder that can be refreshed at up to 240fps. The faster mode still offers 1600 x1200 pixel (5.76M dot) resolution. It has an impressive 0.9x magnification and an eye-point of 25mm, which should allow the finder to be seen even when wearing glasses.
Like the a7S III, it can shoot 4K at up to 120p in 10-bit 4:2:2 quality. Sony says it uses 5.8K pixels in its Super 35 (~APS-C) mode, but there’s no talk of a 4K-from-8K mode. Also like the a7S III it can output 16-bit Raw video output over HDMI. In addition to offering the S-Log 3 curve that promises 15 stops of DR in video, it also offers the S-Gamut3 and S-Gamut3.Cine color modes that match Sony’s professional video cameras’ output. It also becomes the first Alpha camera to offer the S-Cinetone color response.
For photojournalists and sports shooters needing to deliver pictures immediately, it features dual-band Wi-Fi that allows FTP transfers and 3.5x the rate offered by the a9 II: which Sony presumably expects to be used with its new Xperia Pro smartphone/HDR monitor/5G transmitter. There’s also an Ethernet port for wired connections.
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It will cost around $ 6500 / €7,300 / £6,500 and will be available in March. It uses the same VG-C4EM two-battery accessory grip as the a7R IV, a7S III and a9 II.
Press release
The Alpha 1 Delivers an Unprecedented Combination of Resolution, Speed and Video Performance, Empowering Professionals with a New High-Resolution 50.1-megapixel Full-frame Image Sensor, High-speed Shooting at up to 30 Frames per Second, 8K 30p Video and More
SAN DIEGO, CA – January 26, 2021 – Sony Electronics, a global leader in imaging sensor technology and digital imaging, has announced the arrival of the groundbreaking new full-frame mirrorless Alpha 1 camera – asserting their commitment to leading the industry with a stunning combination of innovative new features.
The most technologically advanced, innovative camera that Sony has ever released, the Alpha 1 combines high-resolution and high-speed performance at a level that has never been accomplished in the world of digital cameras. With a brand new 50.1-megapixel full-frame stacked Exmor RS™ image sensor, up to 120 AF/AE calculations per second, 8K 30p 10-bit 4:2:0 video and much more, the Alpha 1 will allow creators to capture what they’ve never been able to before.
“We are always listening to our customers, challenging the industry to bring new innovation to the market that goes far beyond their expectations.” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “Alpha 1 breaks through all existing boundaries, setting a new bar for what creators can accomplish with a single camera. What excites us the most – more than the extensive product feature – is Alpha 1’s ability to capture that which has never been captured before. This camera unlocks a new world of creative possibilities, making the previously impossible now possible.”
The newly developed image sensor is built with integral memory and paired with an upgraded BIONZ XR imaging processing engine, making it capable of shooting 50.1-megapixel images continuously at an astounding 30fps with up to 120 AF/AE calculations per second. The Alpha 1’s shooting capabilities are further enhanced by a 9.44 million dot OLED Quad-XGA electronic viewfinder, with a refresh rate of up to 240 fps[xiv], ensuring no black out. Additionally, for the first time in an Alpha series camera, 8K 30p 10-bit 4:2:0 video is available. The Alpha 1 is also capable of 4K 120p / 60p 10-bit 4:2:2 recording and includes S-Cinetone color. The Alpha 1 is also packed with features that support field professionals with faster workflow, including 3.5 times faster wireless FTP transfer speed[xv] and more.
Unprecedented Resolution and Speed
Continuous Shooting at Up to 30 Frames Per Second
The Alpha 1 captures moments that would otherwise be lost thanks to its high-speed performance, providing any photographer the speed they require to capture fast-moving objects. High speed readout from the 50.1-megapixel image sensor and a large buffer memory make it possible to shoot up to 155 full-frame compressed RAW images[xvi] or 165 full-frame JPEG images[xvii] at up to 30 frames per second with the electronic shutter while maintaining full AF and AE tracking performance[xviii].
At an astonishing calculation speed of up to 120 AF/AE per second, the Alpha 1 can maintain focus with high accuracy even for fast moving subjects. It can automatically adjust exposure, even with sudden changes in brightness, with an AE response latency as low as 0.033 seconds[ii].
Advanced Electronic Viewfinder with the World’s Firstiv Refresh Rate of 240 fps
Complimenting the camera’s ability to capture images at an unprecedented speed, the Alpha 1 viewfinder features the world’s first[iv] 240 fps refresh ratexiv, for a super-smooth display. The viewfinder does not black out when an exposure is made to offer an uninterrupted view and allow for seamless framing and tracking, even during continuous shooting. The 9.44 million-dot (approx.), 0.64 type Quad-XGA high-definition OLED display and refined optics deliver the highest resolution in its classiv. It also offers 0.90x[xix] viewfinder magnification, a 41° diagonal FOV, and a 25mm-high eyepoint for clear, low distortion viewing from corner to corner.
Advanced Autofocus
Sony continues to push the boundaries of autofocus technology with the introduction of the Alpha 1, which can easily track complex, fast-moving subjects with high precision. The camera features 759 phase detection points in a high-density focal plane phase-detection AF system cover approximately 92% of the image area – ensuring accuracy and unfailing focus in environments where focusing might otherwise be difficult.
Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous system[i], thanks to the powerful image processing engine, BIONZ XR. It ensures accurate, reliable detection, even when the subject’s face looks away. In addition to improved Real-time Eye AF for humans and animals, the Alpha 1 employs high-level subject recognition technology to provide Real-time Eye AF for birds[xi], a first in an Alpha series camera. Optimized algorithms ensure that tracking is maintained even if a sitting bird suddenly takes flight, or the framing suddenly changes[xx].
The Alpha 1 also features AI-based Real-time Tracking that automatically maintains accurate focus. A subject recognition algorithm uses color, pattern (brightness), and subject distance (depth) data to process spatial information in real time at high speed.
Silent, Vibration-free Electronic Shutter
High-speed readout from the new image sensor has made it possible to reduce rolling shutter by up to 1.5 times when shooting stills, compared to the Alpha 9 II. It also offers silent anti-flicker continuous shooting with an electronic shutter for the first time[v] in the world. The electronic shutter[xxi] operates silently, without mechanical noise, and is vibration-free. Stress-free continuous shooting is now possible even when shooting in challenging lighting situations with florescent or other flicker-prone types of artificial lighting. And for the first time in an Alpha camera, electronic shutter flash sync up to 1/200 sec[xxii] is possible. The advantages of the electronic shutter advantages can now come to life even when using flash for broadly expanded shooting versatility.
Dual Driven Shutter System for 1/400 Flash Sync
The Alpha 1 boasts the world’s fastest flash sync speed[v] of 1/400 sec. with mechanical shutter, making it even easier to capture dynamic action. In addition to a carbon fiber shutter curtain, the Alpha 1 features the newly developed dual driven shutter system utilizing spring and electromagnetic drive actuator, offering high durability and lightness at the same time.
High Resolution Shooting Enhancements
Even with this sensor’s high pixel count, the Alpha 1 offers high sensitivity with low noise, plus 15+ stops of dynamic range for video and 15 stops for stills, for smooth, natural gradations from shadows to highlights thanks to its cutting-edge processing system, throughout a wide ISO sensitivity range of 100-32,000 (expandable to 50-102,400, when shooting stills).
Additionally, the new camera features an evolved Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 796.2 million pixels of data, which are then composited into a 199 million pixel (17,280 x 11,520 pixels) image using Sony’s Imaging Edge™ desktop application. With a flash sync of up to 1/200 sec. in this mode, it is ideal for photographing architecture, art or any other still life subject with a level of detail and color accuracy that is simply stunning.
Professional Video Quality
8K High-resolution Movie Shooting
For the first time in an Alpha camera, the Alpha 1 offers 8K 30p 10-bit 4:2:0 XAVC HS recording with 8.6K oversampling for extraordinary resolution. Combined with Sony’s acclaimed autofocus technology, gradation and color reproduction performance, the Alpha 1 will help the user realize their creative vision with the finest detail. It’s 8K footage can also be used for flexible 4K editing during post-production.
Supporting Various Video Formats for Professionals
The Alpha 1 offers in-camera 4K recording at up to 120 frames per second[viii] which allows the user to shoot up to 5X slow-motion video[xxiii]. In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient Long GOP inter-frame compression or high-quality Intra (All-I) intra-frame compression.
The Alpha 1 features S-Cinetone, the same color matrix that produces the highly regarded FX9 and FX6 color and skin tones. It delivers natural mid-tones, plus soft colors and gorgeous highlights to meet a growing need for more expressive depth. The S-Log3 gamma curve makes it possible to achieve 15+ stops of dynamic range, while the S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match Alpha 1 footage with video shot on VENICE cinema camera, FX9 and other professional cinema cameras.
Heat-dissipating Structure
A unique heat dissipating structure keeps image sensor and image processing engine temperatures within their normal operating range, preventing overheating while maintaining compact body dimensions. This makes it possible to record 8K/30p video continuously for approximately 30 minutes[xxiv].
Supporting Hand-held Shooting
A high-precision stabilization unit and gyro sensors, plus optimized image stabilization algorithms, achieve up to a 5.5-step shutter speed advantage, maximizing the quality of the high-resolution images derived from the camera’s 50.1-megapixel sensor. The Alpha 1 also features an Active Mode[xxv] that offers outstanding stabilization for handheld movie shooting. When using Sony’s desktop applications Catalyst Browse or Catalyst Prepare[xxvi] for post-production, an accurate image stabilization function is available which utilizes metadata generated by camera’s built-in gyro.
Other features that the Alpha 1 offers include; 16-bit RAW output[xxvii] to an external recorder[xxviii] via HDMI for maximum post-production flexibility, a digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone, 5.8K oversampled full pixel readout without pixel binning for high-resolution 4K movies in Super 35mm mode and more.
Enhanced Workflow with Network Technologies including Connectivity to 5G Compatible Devices
The Alpha 1 has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with advanced connectivity options. It offers several features for fast, reliable file transfers. Industry’s fastest[xiii] built-in wireless LAN allows communication on 2.4 GHz and 5 GHz[xxix] bands with dual antennas to ensure reliable communications. 5 GHz includes 2×2 MIMO support (IEEE 802.11a/b/g/n/ac) offering 3.5 times faster wireless FTP transfer speed than the Alpha 9 II – a notable advantage for news and sports shooters who need to deliver with reliable speed. There is also a provided USB Type-C® connector to support fast data transfer when connected to a 5G mmWave compatible device such as Sony’s Xperia PRO and makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. The Alpha 1 also has a built-in 1000BASE-T LAN connector for high-speed, stable data transfers, including remote shooting. FTPS (File Transfer over SSL/TLS) is supported, allowing SSL or TLS encryption for increased data security.
In addition to compressed and uncompressed RAW, the Alpha 1 includes efficient lossless compression with no quality degradation, Lossless Compressed RAW. There is also a new “Light” JPEG/HEIF image quality setting that results in smaller files than the “Standard” setting, allowing faster deliver for news and sports photographers who depend on speed. Along with a versatile range of RAW and JPEG formats, the Alpha 1 includes the HEIF (High Efficiency Image File) format for smooth 10-bit gradations that provide more realistic reproduction of skies and portrait subjects where subtle, natural gradation is essential. Images shot on the Alpha 1 can be trimmed in-camera to a desired aspect ratio, size, or position for versatile usage.
The Alpha 1 is also compatible with a variety of apps, add-ons and tools. With Imaging Edge Mobile and Imaging Edge Desktop[xxx], professionals can easily transfer RAW files and files that use lossless compression and remotely control Touch Tracking and Touch Focus for convenient AF operation. The Transfer & Tagging add-on (Ver. 1.3 or later) can automatically covert voice memos attached to image files to text captions or transfer the files to an FTP server from a mobile device. Desktop applications Catalyst Browse/Catalyst Prepare[xxvi] allow professionals to browse and manage video clips shot by Sony’s camera. In addition, the Remote Camera Tool[xxxi] can remotely change camera settings and shoot from a computer connected via LAN cable and feature a number of refinements for the Alpha 1: faster transfer, touch response, dual slot and HEIF support, and more.
Reliable and Easy Operability
Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 1 has two media slots that both support UHS-I and UHS-II SDXC/SDHC cards, as well as new CFexpress Type A cards for higher overall capacity and faster read/write speeds. It also features a durable magnesium alloy chassis, long battery life with the Z-battery which can be extended using the optional VG-C4EM Vertical Grip (sold separately), an improved dust removal feature, shutter close function on power-off to protect image sensor, plus dust and moisture resistance[xxxii] that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and USB PD (Power Delivery) support, allowing higher power to be supplied from an external source so that users can record for extended periods with minimal internal battery usage.
A revised menu structure provides easier navigation, and touch-responsive menu operation offers fast, more intuitive control with Touch Focus and Touch Tracking on its 3.0 type 1.44 million-dot (approx.) LCD monitor. For easy customization, a subset of the camera’s shooting settings now changes according to the selected shooting mode, making it easier than ever to use different aperture, shutter speed and other settings for shooting stills and movies.
The Alpha 1 Full-frame Interchangeable-Lens Camera will be available in March 2021 for approximately $ 6,500 USD and $ 8,500 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
Notes:
[i] Compared to the BIONZ X imaging processing engine.
[ii] “Hi+” continuous shooting mode. In focus modes other than AF-C, effective at 1/125 sec. or higher shutter speed. In AF-C mode, effective at 1/250 sec. or higher shutter speed, and the maximum continuous frame rate will depend on the shooting mode and lens used. 20 fps max. when shooting Uncompressed or Lossless compressed RAW.
[iii] At shutter speeds of 1/125 sec. or higher. The number of AF calculations will depend on the lens used.
[iv] As of January 2021, Sony survey. Among full-frame mirrorless cameras.
[v] As of January 2021, Sony survey. Among full-frame interchangeable-lens digital still cameras.
[vi] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.
[vii] [APS-C S35 Shooting] is fixed [Off] when shooting 4K 120p and 8K movies.
[viii] 10% image crop.
[ix] Sony internal tests.
[x] When recording with S-Log3. Sony internal tests.
[xi] Still images only.
[xii] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.
[xiii] As of January 2021, Sony survey. Among interchangeable-lens digital still cameras.
[xiv] Field of view is fixed at 33° and resolution is UXGA when selecting frame rate at 240 fps.
[xv] 3.5 times faster when compared against the Alpha 9 II.
[xvi] “Hi+” continuous shooting mode, compressed RAW, CFexpress Type A memory card. Sony tests.
[xvii] “Hi+” continuous shooting mode, CFexpress Type A memory card. Sony tests.
[xviii] At 20 frames per second, users can shoot up to 238 full-frame compressed RAW images or 400 full-frame JPEG images.
[xix] 50mm lens, infinity, -1m-1 diopter.
[xx] Accurate focus may not be achieved with certain subjects in certain situations.
[xxi] Shutter speed slower than 0.5 sec. cannot be set while continuous shooting. Tracking performance and max. aperture differs by settings and lenses.
[xxii] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.
[xxiii] Post-production editing and S&Q mode recording required. Data must be recorded to a CFexpress Type A memory card when the frame rate is 120 (100) fps or higher.
[xxiv] Sony internal tests with [Auto Power OFF Temp.] set to [High].
[xxv] Active Mode is not available for 8K recording.
[xxvi] Catalyst Browse™ version 2020.1 or later, Catalyst Prepare version 2020.1 or later are required.
[xxvii] 8K is not applicable.
[xxviii] Compatible recorders to be announced.
[xxix] 5 GHz communication may be restricted in some countries and regions.
[xxx] The Imaging Edge (Remote/Viewer/Edit) desktop application Ver. 3.1 or later is required for compositing.
[xxxi] Remote Camera Tool version 2.3 or later is required.
[xxxii] Not guaranteed to be 100% dust and water resistant.
| Price | |
|---|---|
| MSRP | $ 6500 (body only) |
| Body type | |
| Body type | SLR-style mirrorless |
| Body material | Magnesium alloy |
| Sensor | |
| Max resolution | 8640 x 5760 |
| Image ratio w:h | 1:1, 4:3, 3:2, 16:9 |
| Effective pixels | 50 megapixels |
| Sensor photo detectors | 51 megapixels |
| Sensor size | Full frame (35.9 x 24 mm) |
| Sensor type | BSI-CMOS |
| Processor | Dual Bionz XR |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary c olor filter |
| Image | |
| ISO | Auto, 100-32000 (expands to 50-102400) |
| Boosted ISO (minimum) | 50 |
| Boosted ISO (maximum) | 102400 |
| White balance presets | 7 |
| Custom white balance | Yes |
| Image stabilization | Sensor-shift |
| CIPA image stabilization rating | 5.5 stop(s) |
| Uncompressed format | RAW |
| JPEG quality levels | Extra fine, fine, standard, light |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Number of focus points | 759 |
| Lens mount | Sony E |
| Focal length multiplier | 1× |
| Screen / viewfinder | |
| Articulated LCD | Tilting |
| Screen size | 3″ |
| Screen dots | 1,440,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.9× |
| Viewfinder resolution | 9,437,184 |
| Photography features | |
| Minimum shutter speed | 30 sec |
| Maximum shutter speed | 1/8000 sec |
| Maximum shutter speed (electronic) | 1/32000 sec |
| Exposure modes |
|
| Built-in flash | No |
| External flash | No |
| Flash X sync speed | 1/400 sec |
| Continuous drive | 30.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV, 1/2 EV steps) |
| AE Bracketing | ±5 (3, 5 frames at 1/3 EV, 1/2 EV steps) |
| WB Bracketing | Yes |
| Videography features | |
| Format | XAVC S, XAVC HS, H.264, H.265 |
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | Dual SD/CFexpress Type A slots (UHS-II supported) |
| Connectivity | |
| USB | USB 3.2 Gen 2 (10 GBit/sec) |
| USB charging | Yes |
| HDMI | Yes (mini-HDMI) |
| Microphone port | Yes |
| Headphone port | Yes |
| Wireless | Built-In |
| Wireless notes | 802.11ac (Dual Band) |
| Remote control | Yes (via Bluetooth or tethered PC) |
| Physical | |
| Environmentally sealed | Yes |
| Battery | Battery Pack |
| Battery description | NP-FZ100 lithium-ion battery & charger |
| Battery Life (CIPA) | 530 |
| Weight (inc. batteries) | 737 g (1.62 lb / 26.00 oz) |
| Dimensions | 129 x 97 x 70 mm (5.08 x 3.82 x 2.76″) |
| Other features | |
| Orientation sensor | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
The post Sony to Announce “the One Never Seen” on January 26th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last week, Sony offered a mysterious announcement, displaying only the words, “The one never seen,” as well as a date, January 26th, 2021, 10 AM EST.
The title of the YouTube countdown reads, “New product announcement on January 26th, 2021.” And the caption simply states to “be ready for the announcement of the new Alpha.”
In other words:
We should have a new Sony Alpha mirrorless model – and our first compelling camera reveal of 2021 – before the week is out.
But what camera is this new Alpha, the “one never seen”? What model is Sony teasing?
Unfortunately, we have no official knowledge, and Sony will undoubtedly stay silent until 10 AM on January 26th. But the internet has been abuzz with speculation, and plenty of suggestions have been thrown around regarding the identity of the new camera, including:
According to SonyAlphaRumors, the new kit is most likely the A9 III, which will potentially offer 8K/30p – hence the “one never seen” designation, because up until this point, Sony has restricted their Alpha models to 4K (with even the video-centric Sony a7S III maxing out at 4K/120p).
8K capabilities do come with significant resolution requirements. The Canon EOS R5, for instance, sits at 45 MP, and the Sony a9 III may overshoot this by a few megapixels (SonyAlphaRumors suggests a possible 50 MP sensor).
The Sony a9 and a9 II are action photography cameras through and through, offering blazing-fast autofocus and exceptional continuous shooting speeds, but at the cost of resolution. Both cameras sit at an “average” 24 megapixels, so a jump to 8K might even call for a doubling of the current resolution count.
Regardless, a 50-megapixel camera with professional-level action chops will certainly satisfy some photographers, assuming they can afford the (likely exorbitant) price.
So make sure you check out Sony’s announcement on January 26th at 10 EST. Whatever Sony unveils, it’s bound to be exciting – and only the start of a thrilling 2021!
Now over to you:
What do you think about Sony’s announcement? What camera will the company reveal? Share your thoughts in the comments below!
The post Sony to Announce “the One Never Seen” on January 26th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Just last week, Sony unveiled its latest high-powered creation:
A 35mm f/1.4 GM lens, designed for full-frame, E-mount cameras, and offering an impressive set of capabilities (for an eye-watering price).
As you’d expect from a G Master lens, the 35mm f/1.4 features a no-holds-barred, pro-level design. You get a beautifully-constructed barrel, a handy aperture ring (for changing the aperture on the fly without having to fiddle with camera dials), plus dust and moisture resistance. The lens is relatively light and compact (Sony highlights its 524 g/18.5 oz weight, as well as its ability to sit “comfortably in the palm of your hand”), which makes it ideal for travel and on-location photoshoots. In fact, Sony has managed to create a lens that you’ll want in your bag for pretty much any photography scenario, be it studio work, natural light portraiture, landscape photography, street photography, or event photography.
Aside from its build, what makes the Sony FE 35mm f/1.4 GM so special?
First, there’s the optics. Sony claims that the 35mm f/1.4 offers “extraordinary resolution” and “stunning contrast,” and early reviews bear this out, commenting on the lens’s impressive sharpness, even at f/1.4. This makes the 35mm f/1.4 a worthy choice for landscape photographers after a mid-wide prime, as well as for architectural photographers.
Then there’s the f/1.4 maximum aperture. Wide open, you can capture buckets of light; this is perfect for event photographers who frequently shoot indoors and need to keep their shutter speeds high, even at night. Plus, the f/1.4 setting combined with an 11-blade aperture is practically guaranteed to produce class-leading bokeh – for the kind of portrait backgrounds that will leave the viewer stunned.
Sony also promises speedy autofocus (specifically, “fast, smooth, and silent AF performance”), as well as effortless (“immediate and precise”) manual focus for those portrait photographers, landscape photographers, and videographers who require intense control when adjusting focus.
Of course, a big part of a lens’s appeal is its focal length, and here the Sony 35mm f/1.4 excels. On a full-frame camera, you get a medium-wide field of view for landscapes, environmental portraits, and wider street shots. Mount the Sony 35mm f/1.4 on a crop-sensor body, and you’ll have a handy 50mm lens, one that’ll work for standard portraits, tighter street photos, walkaround shooting, and more.
Unfortunately, the Sony 35mm f/1.4’s price tag sits just under $ 1400 USD. However, if you can afford the cost and require the absolute best image quality and bokeh around, the Sony 35mm f/1.4 won’t disappoint.
You can check out the Sony 35mm f/1.4 right here; shipping starts on February 15th.
Now over to you:
What do you think of the Sony 35mm f/1.4 GM? Are you interested? Is the lens too pricey? Or is it worth the cost? Share your thoughts in the comments below!
The post Sony Releases a Gorgeous (and Expensive) 35mm f/1.4 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
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It’s been a long time coming, but Sony has finally announced a G Master series 35mm lens for its full-frame mirrorless system. The new FE 35mm F1.4 GM is Sony’s 39th full-frame E-mount lens, and does not replace the older Zeiss-branded optic. It should and – spoiler alert – does outperform it in most respects, according to our testing.
Click-through for a closer look at Sony’s newest full-frame prime lens.
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The Sony 35mm F1.4 G Master handles and looks quite a bit like its 24mm F1.4 GM cousin, which is to say the design is both compact and lightweight. Weighing in at 524g (1.1lbs), the new lens is lighter than its Zeiss-branded predecessor (630g) and smaller, too. The older lens measured 112 x 78.5mm (4.4 x 3.1″) compared to 96 x 76mm (3.8 x 3.0″) for the new ‘GM’. This isn’t a huge difference, but it is noticeably shorter when mounted onto an a9 or a7-series body.
The front filter thread is smaller, too: 67mm compared to 72mm.
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Despite its surprisingly lightweight design, this lens feels incredibly well-built. In line with other GM-series lenses, the FE 35mm F1.4 GM is rated as ‘dust and moisture resistant’, which basically means you can take it out into the elements from time to time, though we’d recommend you avoid subjecting it to lengthy exposure to dust, mud or rain (and don’t expect it to work underwater…). A rubber gasket around the mount also helps to protect moisture and gunk from entering the body and getting onto your camera’s sensor. A fluorine coating on the front element should make water or dirt easy to clean off.
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The FE 35mm F1.4 GM boasts a minimum focus distance of 27cm (10.6″), which works out to a maximum magnification of 0.23X. This is about average for a lens of this type, but Sony claims that image quality in its close-up range should be extremely good. Meanwhile, twin XD (‘extreme dynamic’ – Sony really likes adding the word ‘extreme’ to things) linear AF motors are designed to deliver accurate and silent focus across the focus range. Thanks to the combination of these motors and a single focusing group, focus is nearly instantaneous, making the lens suitable for fast and erratic subjects.
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For manual focus fans, the response of the manual focus ring is linear, i.e., 5 degrees of movement of the focus ring will always change focus by the same amount, regardless of how fast or slowly you rack the control. The manual focus ring also turns with a nice smooth motion. This is all great news for video, where you need to be able to accurately and repeatedly position focus manually between fixed positions.
A customizable focus hold button on the lens barrel can temporarily disable autofocus – quite useful when paired with ‘touch tracking’ AF in video – but it need not be restricted to this function. It can be assigned to any custom function available to the other custom buttons on Alpha series bodies. The faux mechanical aperture ring can be set to move in fixed ‘clicky’ detents, or ‘de-clicked’ for smoother, stepless adjustment: again, a useful feature for video work. The only downside we could find for video shooters was some noticeable focus breathing when rack focusing.
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Sony is proud of the design of this lens, describing it in our briefing as offering ‘overwhelming image quality in a compact and mobile package’. The image quality part of that comes courtesy of a complex optical design, comprising 14 elements in 10 groups, including two ‘XA’ (extreme aspherical) elements, with one such element positioned at the front of the lens. One ED (extra-low dispersion) element, positioned in the middle of the optical layout, helps focus light rays of varying wavelengths (or colors) at the same focal plane. All of this fancy glass should pay off in excellent sharpness across the frame, and very good control of longitudinal chromatic aberration (often seen as purple or green fringing in front of and behind the focal plane, respectively).
Eleven rounded aperture blades provide a near-circular aperture even as you stop the aperture down, which should ensure attractive bokeh and out-of-focus highlights. Meanwhile, Sony’s ‘Nano AR Coating II’ is designed to control flare and ghosting.
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We’ve had some time to shoot two copies of the Sony 35mm F1.4 GM and have come away impressed by what we’ve seen. The lens is sharp wide open, resolving hairs with high contrast that are just one pixel wide at F1.4. Longitudinal chromatic aberration (LoCA) is well-controlled but modestly present. While it won’t bother you at an image level, you may notice it upon close inspection at high magnification when shooting wide open. It’s largely a non-issue once you stop down to F2. In this regard it’s far better than many lenses of its type, significantly outperforming the Sony 35mm F1.4 ZA, the Sony 35mm F1.8, and the Sigma 35mm F1.4 Art, but falling behind the industry leading Canon 35mm F1.4L II.
Bokeh, which along with LoCA, was one of the Achilles’ Heels of the 35mm ZA lens, is smooth and pleasing, with circular out-of-focus highlights showing no patterning or onion rings, well-controlled cat’s eye effect, and no mechanical truncation of bokeh at image edges or corners that can otherwise lead to ‘busy’ bokeh in these image areas.
Flare and ghosting are well controlled; we found it hard to induce contrast-killing flare or unsightly ghosts in the image when pointing the lens directly into the sun. Twenty-two point sunstars are well-defined as you stop down. Overall, optical quality is particularly impressive when you consider the size and weight of the lens.
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The Sony FE 35mm F1.4 GM will be available in mid-February at an MSRP of $ 1400.
Articles: Digital Photography Review (dpreview.com)
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