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Sony RX100 Mark V real-world samples

07 Oct

The RX100 Mark V is pretty crazy – at its full burst speed of twenty four frames per second, shooting full JPEG and Raw, I actually tended to dial it back to its ‘medium’ 10 fps burst-shooting speed. Think about that: you can literally make movies out of these 24 fps (importantly: long) bursts. With 315 on-sensor phase-detection autofocus points, I almost felt bad for doing so – but our 128GB cards were filling up fast. And though the buffer is huge, allowing you to keep shooting even as it’s clearing, it does have to clear completely (a slow process) before you can switch from photo to video mode. And given the variety of activities at Sony’s shooting experience, we wanted to shoot both.

Rishi and I have enjoyed a hands-on shooting experience with the RX100 V, and have a variety of straight-out-of-camera samples for you to peruse (no Raw support yet). We’re looking forward to uploading some more samples in the near future. This camera may well be the only serious photographic tool one would ever need. To get an idea of if the Mark V is right for you, take a look through our preliminary gallery.

Note: This is a preliminary gallery that we will be adding to. Keep in mind this was an indoor action shooting scenario, meaning all images in this gallery are taken at very high ISO, with default parameters, including default sharpening and noise reduction, and auto white balance. Given the high ISOs, detail retention is impressive, with apparently increased default noise reduction well balanced by smart sharpening. All images are straight-out-of-camera JPEGs with accompanying Raw files.

Click to see our RX100 Mark V real-world samples gallery

Articles: Digital Photography Review (dpreview.com)

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Sony announces Cyber-shot RX100 Mark V with 315 phase-detection AF points

07 Oct

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Sony has announced the latest version of its RX100 series: the Mark V. It maintains a 20MP sensor and 24-70mm equiv. F1.8-2.8 lens, but adds phase-detection AF to achieve focus speeds as fast as 0.05 sec, and a front-end LSI to improve speed of operation and buffering.

The Sony Cyber-shot RX100 V offers what Sony calls ‘professional level AF performance’ in the form of a new sensor with 315 phase-detection AF points over 65% of the frame, claiming the world’s fastest AF speed at 0.05 seconds. The front-end LSI gives a turbo boost to performance, allowing the sensor to be read faster and more data to be buffered. That means the Mark V now offers 24 fps shooting at full 20.1MP resolution with autofocus and auto exposure for up to 150 frames for JPEG + Raw. That’s stills shooting at movie frame rates, folks. Eye AF is also available in AF-C mode.

The Mark V’s video is also improved. It creates UHD 4K from a 5028 x 2828 pixel region. This means it oversamples by 1.3x in each dimension (1.7x overall), to give highly detailed 4K footage. The faster sensor readout thanks to the LSI also means less rolling shutter in 4K video and electronic stills, inching these cameras ever closer to the global shutter ideal. The camera maintains the ability to use its phase detection AF during video shooting, but no touchscreen severely reduces usability. 960 fps and all other slow motion modes are now available with twice the recording duration of the RX100 IV – up to 8 seconds of 40x slow motion at 960 fps. S-Log2/S-Gamut and Picture Profiles are also available to videographers, as is 1080/120p.

An ‘anti-distortion’ fully electronic shutter is available up to 1/32000 sec, and in fact the electronic shutter automatically kicks in for shutter speeds greater than 1/2000s, or frame rates greater than 10 fps. Turns out it’s hard to operate a leaf shutter at 24 fps…

The camera’s 3″ 1229k-dot, non-touchscreen LCD tilts a full 180 degrees upward and 45 degrees downward. It retains a pop-up viewfinder, with a 2.4M-dot OLED panel. Wi-Fi is available as expected, with the added benefit of being able to read QR codes to help make a wireless connection when NFC isn’t an option. A new underwater case is available, compatible with the entire RX100 series and making it possible to use the camera up to 40m underwater.

It will be available in October for $ 1000/€1200.

Press release

Sony Announces New Addition to Acclaimed Line of Cyber-shot® RX Cameras

New Compact RX100 V Model Boasts World’s Fastest AF Speed1, World’s Most AF Points and World’s Fastest Continuous Shooting1 for a Compact Camera1

NEW YORK, Oct. 6, 2016 – Sony – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – has today announced a new flagship model for their popular Cyber-shot RX100 series of compact cameras, the RX100 V (model DSC-RX100M5).

The exciting new camera brings a new level of AF performance and speed to today’s compact camera market. It is equipped with a Fast Hybrid AF system with the world’s fastest AF acquisition1 at 0.05 seconds2 and world’s highest number of AF points on sensor1 with 315 points covering approximately 65% of the frame. The camera can also shoot continuously at speeds of up to 24 fps3 – the world’s fastest for a compact camera1 – at full 20.1 MP (approx. effective) resolution with AF/AE tracking for up to 150 continuous shots4.

The RX100 V is equipped with a newly developed 1.0-type stacked Exmor RS™ CMOS sensor with a DRAM chip, a ZEISS® Vario-Sonnar T* 24-70 mm5 F1.8 – 2.8 large aperture lens and an enhanced image processing system with a new front-end LSI chip that maximizes processing speed, expands the memory buffer and optimizes image quality, in particular at high ISO settings. The camera also features 4K video recording with full pixel readout and no pixel binning6, super slow motion recording at up to 960 fps7 with extended recording time and more.

“Featuring a level of power and performance that has never before been achieved in a compact, the new RX100 V redefines what it means to be a ‘pocket camera’,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “This camera is yet another example of Sony innovating to a level far beyond what exists in the conventional marketplace.”

Fast Focusing, Fast Shooting

A first for Sony’s RX100 series of cameras, the new RX100 V model features a Fast Hybrid AF system that combines the respective advantages of focal-plane phase detection AF and contrast detection AF and ultimately enables the camera to lock focus in as little as 0.05 seconds2. This high speed focusing is a perfect complement to the 315 dedicated AF points that cover 65% of the sensor, and ensures that shooters will be able to capture their intended subject with high speed and accuracy, even if it’s moving rapidly in unpredictable directions.

Additionally, processing speed has been greatly enhanced through the addition of a front-end LSI that perfectly supports the camera’s BIONZ X® image processing engine. These two components combined with the powerful AF system allow the camera to shoot continuously at speeds of up to 24 fps 3 at full 20.1 MP (approx. effective) resolution for up to 150 shots4 with AF/AE tracking. Viewfinder blackout between shots has also been minimized in this high-speed shooting mode, which greatly improves photographers’ ability to follow fast action and capture the decisive moment. Silent shooting is also available in these high-speed modes as well8.

Other advancements to AF performance on the new RX100 V include the addition of AF-A mode, which allows the camera to automatically switch between continuous and single-shot AF modes. Users can also manually select if they’d like the continuous AF and phase detection AF areas to be displayed live on screen while they are framing a shot.

The RX100 V also has a high speed Anti-Distortion Shutter (maximum speed of 1/32000 second) that minimizes the “rolling shutter” effect commonly experienced with fast moving subjects. This fast shutter speed also allows the camera to capture sharp, crystal clear images with a wide open aperture at brightness levels up to EV199. Shooting at wide aperture with the fast shutter speed allows photographers and videographers to capture beautiful content with sharply focused subjects and defocused backgrounds under some of the most difficult, bright lighting conditions.

New on the RX100 V, users can freely select the initial magnification ratio when shooting in a mode with Focus Magnifier, and can select between “focus point” and “center of display” for the location of Focus Magnifier.

Professional Movie Functionality

The pocket-friendly RX100 V is packed with a variety of video capabilities that will satisfy even the most demanding video enthusiasts.

With Fast Hybrid AF, the focal plane phase detection AF sensor ensures accurate focusing and tracking performance, even for the severe focusing requirements of 4K movie shooting. AF drive speed and AF tracking sensitivity can also be adjusted via the menu system, giving shooters plenty of flexibility based on their focusing preferences.

In 4K mode 6, the new RX100 V utilizes full pixel readout without pixel binning to ensure that all the finer details of 4K video are captured with minimal moire and ‘jaggies’. These high-quality results are achieved through use of the XAVC S codec, which records video at a high data rate of up to 100 Mbps during 4K recording and 50 Mbps during full HD shooting10.

Additional professional caliber video features include Picture Profile, S-Log2/S-Gamut, 120p HD Full HD mode and more. Users also have the ability to manually select a frame from a recorded movie and save it as a still image file of approximately 8 MP during 4K shooting or 2 MP during HD shooting.

The RX100 V is able to record super-slow motion video7 at up to 40x slower than the standard rate, and can do this for about twice as long as the RX100 IV model. This extended time allowing users to capture a series of high-speed, fleeting moments of action with incredible detail, resolution and clarity.

Prior to shooting, users will have the ability to choose among 960fps, 480fps and 240 fps frame rates and among 60p, 30p and 24p playback formats to optimize the recording to fit the speed of the moving subject, with the option to use the movie record button as a ‘start trigger’ to begin recording once button is pressed or ‘end trigger’ to record footage up until the button is pressed.

Pocket-Friendly Design, Premium Performance

The new RX100 V maintains the convenient pocket-sized design of the remainder of the RX100 family and is equipped with a high-contrast 2.35 million dot XGA OLED Tru-Finder™, ensuring true-to-life image preview and playback functionality. The EVF conveniently retracts in and out of the camera body based on user preference, and features optics with ZEISS® T* Coating.

The new camera is also Wi-Fi® and NFC™ compatible and can access Sony’s growing range of PlayMemories Camera Applications. Learn more at www.sony.net/pmca.

Another convenient addition is the ability for users to freely set the leading three characters of saved file names for easier sorting and organization.

There will also be a new underwater housing (model MPK-URX100A) that will be available as a separate accessory for the RX100 V and all other RX100 series cameras. Designed exclusively to fit the RX100 cameras, the housing features a depth level of 40m/130ft.

Pricing and Availability

The new Sony Cyber-shot RX100 V (model DSC-RX100M5) compact camera will ship this month for about $ 1,000 US and $ 1,250 CA.

The new underwater housing (model MPK-URX100A) will ship in November for about $ 350 US and $ 450 CA.

Both products will be sold at a variety of Sony authorized dealers throughout North America.

A variety of exclusive stories and exciting new content shot with the new RX100 V camera and other Sony products can be found at www.alphauniverse.com , Sony’s community site built to educate, inspire and showcase all fans and customers of the Sony ? brand.

Sony Cyber-shot DSC-RX100 V specifications

Price
MSRP	$ 1000/€1200
Body type
Body type	Compact
Body material	Aluminum
Sensor
Max resolution	5472 x 3648
Other resolutions	3:2 (3888 x 2592, 2736 x 1824), 4:3 (4864 x 3648, 3648 x 2736, 2592 x 1944), 16:9 (5472 x 3080, 3648 x 2056, 2720 x 1528), 1:1 (3648 x 3648, 2544 x 2544, 1920 x 1920)
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	20 megapixels
Sensor photo detectors	21 megapixels
Sensor size	1″ (13.2 x 8.8 mm)
Sensor type	BSI-CMOS
Processor	Bionz X
Color space	sRGB, AdobeRGB
Color filter array	Primary color filter
Image
ISO	Auto, 125-12800
Boosted ISO (minimum)	80
Boosted ISO (maximum)	25600
White balance presets	9
Custom white balance	Yes
Image stabilization	Optical
Uncompressed format	RAW
JPEG quality levels	Extra fine, fine, standard
File format	JPEG (Exif v2.3, DCF v2.0) Raw (Sony ARW v2.3)
Optics & Focus
Focal length (equiv.)	24–70 mm
Optical zoom	2.9×
Maximum aperture	F1.8–2.8
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (3.8x)
Manual focus	Yes
Normal focus range	5 cm (1.97″)
Macro focus range	5 cm (1.97″)
Number of focus points	315
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	1,228,800
Touch screen	No
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.59×
Viewfinder resolution	2,359,296
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/2000 sec
Maximum shutter speed (electronic)	1/32000 sec
Exposure modes	Auto Program Auto Aperture Priority Shutter Priority Manual Exposure
Scene modes	Portrait Sports Action Macro Landscape Sunset Night Scene Handheld Twilight Night Portrait Anti Motion Blur Pet Mode Gourmet Fireworks High Sensitivity
Built-in flash	Yes
Flash range	10.20 m (at Auto ISO)
External flash	No
Drive modes	Single Continuous Self-timer (single, continuous) Single/continuous bracketing WB bracketing DRO bracketing
Continuous drive	24.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3 (at 1/3 EV steps)
AE Bracketing	±3 (3 frames )
WB Bracketing	Yes
Videography features
Format	MPEG-4, AVCHD, XAVC S
Modes	3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 120p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 100p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 100p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 16 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 16 Mbps, MP4, H.264, AAC 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 24p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1280 x 720 @ 30p / 6 Mbps, MP4, H.264, AAC 1280 x 720 @ 25p / 6 Mbps, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/ SDHC/SDXC, Memory Stick Pro Duo/ Pro-HG Duo
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI with uncompressed 4K/30p output)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n with NFC
Remote control	Yes (wired or smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	NP-BX1 lithium-ion battery & USB charger
Battery Life (CIPA)	220
Weight (inc. batteries)	299 g (0.66 lb / 10.55 oz)
Dimensions	102 x 58 x 41 mm (4.02 x 2.28 x 1.61″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Sony a6500 adds 5-axis stabilization, touchscreen and processing power

07 Oct

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Sony has taken the wraps off of its 24MP a6500 mirrorless camera. The flagship APS-C camera gains five-axis image stabilization and touchscreen operation. A larger buffer and more processing power also help set it apart from the existing a6300. It will cost around $ 1400.

The a6500 is now the company’s top-end APS-C camera, sitting above the a6300. It makes use of the same copper-wired 24MP sensor with 425 on-sensor PDAF points but gains a faster (LSI) processor to allow high speed operation. Sony also promises improved processing at high ISO settings, thanks to this new LSI.

The camera gains 5-axis image stabilization which continues to work in both stills and video. The system is rated as offering 5 stops of stabilization, by CIPA standard testing.

When used in conjunction with stabilized ‘OSS’ lenses, the in-lens stabilization takes over correction of the axes that is can stabilize, though Sony makes no claims for this adding to the degree of stabilization offered.

It also gains a touchscreen for faster operation, particularly in terms of AF point positioning. The rear screen works as a touchpad if you’re holding the camera to your eye.

The buffer has been significantly increased, allowing the camera to shoot at 11 frames per second for around 300 JPEGs or 100 Raw+JPEG frames. Sony says this (presumably in combination with the additional processing power) also helps it offer a faster image review when you’ve been shooting large bursts.

It can shoot 4K video much like the a6300 but with the touchscreen allowing touch-to-pull-focus. The AF drive speed during video shooting can be controlled for smooth focus transitions. This autofocus ability is maintained across all the camera’s video modes, including 1080/120p capture.

Beyond that, the camera’s video capabilities are very similar to those of the a6300: UHD 4K at up to 100Mbps from 6K readout, meaning roughly 1.54x oversampling in each dimension (2.4x overall). The camera can also capture Full HD (1080) at up to 120p which is now offered as part of a feature that allows the camera to offer anything from 1fps to 120fps capture, for playing back as anything from 60x high speed to 1/5th speed slow motion.

Sadly, Sony is making no promises of improved rolling shutter, compared with the a6300 (suggesting it’s a sensor read-out limitation, rather than one of processing).

Like the a6300, the a6500 has a mic input but no headphone socket.

The camera’s menu has also been updated, which the company says will make it easier to search and navigate. At present, it does not appear that the camera can shoot uncompressed Raw.

Battery life is rated at 350 shots per charge when using the rear screen and 310 shots per charge when using the EVF.

The a6500 will be available for $ 1400/€1700 in the end of November and December for the US and EU, respectively.

Press release:

Sony Introduces New ?6500 Camera with Exceptional All-Around Performance

New Flagship APS-C Sensor Camera Combines World’s Fastest AF speed¹and Highest Number of AF points² with In-camera 5-axis optical image stabilization, Touchscreen AF Operation, 24.2 MP Exmor® CMOS sensor and more

NEW YORK, Oct. 6, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their new flagship APS-C sensor camera, the ?6500 (model ILCE-6500).

As the latest addition to Sony’s lineup of award winning mirrorless cameras, the new ?6500 shares the same unrivaled 4D FOCUS™ system as the ?6300 camera, which can lock focus on a subject in as little as 0.05 seconds, the world’s fastest¹ AF acquisition time. Also shared with the ?6300, the new ?6500 features 425 phase detection AF points that are densely positioned over nearly the entire image area – the world’s highest² number of AF points on any interchangeable lens camera. The new model can shoot images at up to 11 frames per second with continuous autofocus and exposure tracking and up to 8 frames per second in a live-view shooting mode that makes it easy to track fast moving subjects, as it combines all of the benefits of an electronic viewfinder with the immediacy of an optical viewfinder.

The camera can shoot at these high speeds for up to 307 frames³ thanks to its expanded buffer, which, along with the fast response speeds described above, are all achieved with the support of a new front-end LSI chip that has been added to the camera. This new front-end LSI also serves to enhance both still and video image quality.

Additionally, the new ?6500 features Sony’s acclaimed in-camera 5-axis optical image stabilization, making it the first Sony APS-C sensor camera to offer all of the benefits of advanced in-body stabilization, which include a shutter speed advantage of approximately 5 steps⁴. It also offers touchscreen AF capabilities for focus point selection and adjustment.

“We are continuing to push the boundaries of modern innovation in digital imaging, in particular within the mirrorless space,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “By equipping the ?6500 with 5-axis image stabilization and touchscreen AF, we’re offering photographers and videographers more control than ever before and a seemingly endless amount of creative possibilities. As our flagship APS-C camera, it far exceeds the performance threshold of any camera in its class, and many above its class as well.”

Unmatched AF Capability

Sony’s new ?6500 camera utilizes the same 4D FOCUS system as the ?6300 – a Fast Hybrid AF system that combines high-speed phase detection AF with extremely accurate contrast AF and allows it to capture and lock on to moving subjects in as little as 0.05 seconds¹. It also features 425 phase detection AF points and High-density Tracking AF Technology, which significantly improves subject detection and tracking performance.

New for the ?6500, thanks to faster internal processing capabilities enabled by the front-end LSI, the maximum buffer for high-speed continuous shooting is an impressive 307 frames³, greatly increasing the chances to catch that decisive moment.

The camera’s 425 phase detection AF points, focusing tracking and accuracy are also available when using non-native A-mount lenses⁵ with Sony’s LA-EA3 mount adaptor. Additionally, it includes silent shooting, Eye AF in AF-C mode, AF in focus magnifier modes, Expand Flexible Spot AF and more.

5-axis Image Stabilization Provides 5 Steps Shutter Speed Advantage

One of the most exciting developments in the new ?6500 is the implementation of 5-axis image stabilization for the first time in a Sony APS-C sensor camera. Additionally, through a total revision of the internal design of the camera, this newly developed stabilization system fits entirely within a body that is nearly the same size as the ?6300 model⁶. This innovative 5- axis system provides a shutter speed advantage of 5 steps⁴, ensuring the full resolving power of the sensor can be realized, even in challenging lighting.

The shake compensation provided by the system works with a variety of lenses, including E-mount lenses without OSS (Optical SteadyShot) stabilization and A-mount lenses⁷ when used with a compatible mount adapter. When an E-mount lens with OSS is mounted, pitch and yaw are compensated in the lens and horizontal, vertical and roll axes are compensated in the camera body, resulting in optimal 5-axis stabilization⁷.

Also, with a simple half press of the shutter button, the effect of the image stabilization can be monitored in the viewfinder or on the LCD screen, allowing framing and focus to be accurately checked and continually monitored. This is available even when a lens is attached that does not have built-in shake compensation.

New Touch Screen Focusing

The new ?6500 comes equipped with touch screen functionality, allowing users to lock focus on a subject simply by touching it on the screen. This is a powerful compliment to its advanced AF system and video shooting capabilities.

Additionally, in a first for Sony cameras, the ?6500 features touchpad functionality. When utilizing the viewfinder for framing and shooting, the LCD screen can be used as a touch pad. Simply drag a finger across the screen to shift the focus point from one area to another.

Powerful 24.2 MP⁸ Exmor CMOS Sensor, BIONZ X® Processor and New Front-End LSI

The new ?6500 features an APS-C sized 24.2 MP8 Exmor CMOS sensor that works together with a BIONZ X image processor and the newly developed front-end LSI to maximize processing power and achieve an impressive sensitivity range of ISO 100-51200⁹.

The image sensor employs a thin wiring layer and large photodiode substrate that maximizes light collection efficiency, plus copper wiring in its structure for outstanding read-out speed. The BIONZ X image processor and newly developed front-end LSI ensure superior image and video quality with low noise even when using higher ISO settings, in particular those at high sensitivity values where other cameras typically struggle. The LSI is also responsible for the expanded buffer depth for continuous shooting.

Professional Video Capabilities

The new ?6500 becomes the latest Sony interchangeable lens camera to offer internal 4K movie recording, as it can shoot 4K (3840x2160p) video in the popular Super 35mm format on the full width of the image sensor. When shooting in this format, the camera uses full pixel readout without pixel binning to collect 6K of information – approximately 2.4x¹⁰ (20 MP equivalent) as many pixels as 4K UHD and then oversamples the information to produce high quality 4K footage with exceptional detail and depth.

Additionally, the ?6500 will focus exceptionally fast during movie shooting thanks to its Fast Hybrid AF system, offers touch focusing for professionally smooth focus shifts, while also offering adjustable AF transition speed and AF tracking sensitivity. The camera supports the XAVC S codec¹¹ during video shooting, which records at a high bit rate of up to 100 Mbps during 4K recording and 50 Mbps during Full HD shooting, ensuring maximum detail and clarity in both video formats.

Other professional caliber video features include the ability to record Full HD at 120 fps at up to 100 Mbps, which allows footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD (24p) resolution with AF tracking.

New on the ?6500 is the incorporation of a ‘Slow and Quick’ (S&Q) mode that supports both slow motion and quick motion. In this mode, frame rates from 1 fps to 120 fps can be selected in 8 steps for up to 60x quick motion and 5x slow motion recording¹². Footage shot in this mode can be previewed after shooting without the need for PC-based post processing.

The camera also offers S-Log gamma recording¹³ for wide dynamic range shooting – approximately 14-stop latitude in S-Log3 gamma setting – and supports S-Gamut for a wider color space. Both options allow for greater creativity for processing video post-production.

Shooters also now have the ability to select, extract and save still images from movie footage directly on the camera. Approximately 8 MP images and 2 MP images can be pulled from 4K modes and Full HD modes, respectively.

Enhanced Operability and Reliability

The new ?6500 has a refined design, maintaining the mobility of the ?6000 series while adapting much of the usability of Sony’s acclaimed ?7 II series. The new model features the same high contrast, high-resolution 2.4 million dot XGA OLED Tru-Finder as the ?6300 that offers exceptional corner-to-corner visibility.

New hardware features on the ?6500 include a magnesium alloy body and a high-durability shutter with a tested life span of approximately 200,000 release cycles¹⁴. It also has several design features that are borrowed from the ?7 II series of full-frame cameras, which include a robust lens mount, a recessed grip to improve handling, a larger release button and ten total custom buttons including ‘C1’, ‘C2’ and ‘C3’. It also has an improved operation feel for its mode and control dials and rear face buttons, as well as a softer eyepiece cup for more comfortable usage.

On the software front, there is a new overall user interface, which allows for a much smoother process for searching and adjusting menu settings, as well two new metering modes – Highlight, where exposure metering is focused on the brightest area of the frame, and Entire Screen Avg, which maintains an average metering for the entire image.

The camera is Wi-Fi®, QR and NFC compatible and fully compatible with Sony’s PlayMemories Mobile™ applications¹⁵available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™. The ?6500 also offers location data acquisition via a Bluetooth¹⁶ connection to a compatible mobile device and an updated menu structure to deliver a smoother navigational experience.

Pricing and Availability

The Sony ?6500 interchangeable lens camera will ship this November for about $ 1,400 US and $ 1,750 CA. It will be sold at a variety of Sony authorized dealers throughout North America.

There is also a new genuine leather body case (model LCS-EBG) that will ship in November and a new eyepiece cup (model FDA-EP17) that will be launched at a later date.

Notes:

Among interchangeable-lens digital cameras equipped with an APS-C image sensor as of October 2016, based on Sony research, measured using CIPA-compliant guidelines, and internal measurement method with an E PZ 16-50mm F3.5-5.6 OSS lens mounted, Pre-AF off and viewfinder in use.
Among digital cameras as of October 2016, based on Sony research.
With “Hi” continuous shooting mode and “Fine” image quality.
Based on CIPA standard. Pitch/yaw shake only. With Sonnar T* FE 55mm F1.8 ZA lens mounted. Long exposure NR off.
A-mount lenses with SSM or SAM only. Users can choose phase-detection AF or contrast-detection AF in AF System menu. “Phase-detection AF” is not available during movie shooting. AF-C in AF System menu is available only with “Contrast-detection AF” selected, but no motion tracking is performed during continuous shooting (Hi+, Hi, Mid).
Excluding grip, frontal-view size and main body thickness are the same as for the ?6300
All 5-axis stabilization is performed in-camera when SEL90M28G is mounted
Approximate effective MP
Standard ISO range: 100-25600 for stills and movies. Expandable up to ISO 51200 for stills only.
In 24p recording. Approx. 1.6 times in 30p recording.
SDHC/SDXC memory card of Class 10 or higher is required for movie recording in XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps recording.
Sound cannot be recorded. SDHC/SDXC memory card of Class 10 or higher is required.
S-Log2 and S-Log3 are premised on processing pictures.
With the electronic front curtain shutter, under internal test conditions of Sony.
Use the latest version of PlayMemories Mobile
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Sony Alpha a6500 specifications

Price
MSRP	$ 1400 (body only)
Body type
Body type	Rangefinder-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	6000 x 4000
Image ratio w:h	3:2, 16:9
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.5 x 15.6 mm)
Sensor type	CMOS
Processor	Bionz X
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-25600 (expandable to 51200)
Boosted ISO (maximum)	51200
White balance presets	8
Image stabilization	Sensor-shift
Image stabilization notes	5-axis
Uncompressed format	RAW
JPEG quality levels	Extra fine, fine, standard
File format	JPEG (Exif v2.3) Raw (14-bit Sony ARW)
Optics & Focus
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Manual focus	Yes
Number of focus points	425
Lens mount	Sony E
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	921,600
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.7×
Viewfinder resolution	2,359,296
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Maximum shutter speed (electronic)	1/32000 sec
Exposure modes	iAuto Program Aperture priority Shutter priority Manual
Built-in flash	Yes
Flash range	6.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Flash modes	Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction (On/Off selectable), Hi-speed sync, Wireless
Flash X sync speed	1/160 sec
Drive modes	Single Continuous (Hi+/Hi/Mid/Lo) Self-timer Bracketing
Continuous drive	11.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Highlight-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing	±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing	Yes (3 frames, H/L selectable)
Videography features
Format	MPEG-4, AVCHD, XAVC S
Modes	3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 120p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 100p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 100p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 16 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 6 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 25p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 25p / 16 Mbps, MP4, H.264, AAC 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 24p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1280 x 720 @ 25p / 6 Mbps, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC + Memory Stick Pro Duo
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + NFC
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	NP-FW50
Battery Life (CIPA)	350
Weight (inc. batteries)	453 g (1.00 lb / 15.98 oz)
Dimensions	120 x 67 x 53 mm (4.72 x 2.64 x 2.09″)
Other features
Orientation sensor	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Hands-on with the Sony Cyber-shot RX100 V

07 Oct

Sony Cyber-shot RX100 V

Not surprisingly, the Mark V looks a whole lot like its predecessors. It continues to use a 1″-type 20.1MP sensor (more on that in a minute) and 24-70mm equiv. F1.8-2.8 lens, and sports the same pop-up viewfinder with 2.36M-dot OLED panel as the RX100 III and IV. The big improvements are all under the hood.

Phase-detection autofocus

The RX100 V’s sensor is of a similar stacked design to the Mark IV’s but gains 315 phase-detection AF points covering 65% of the frame. Combined with a front-end LSI chip, the RX100 V’s AF system is capable of acquiring focus in as little as 0.05 sec.

The main benefit of phase detection elements on the sensor is that they give the camera an understanding of the depth and where your subject exists in the scene. This not only means faster focus but should also allow more reliable subject tracking, since the camera has additional information to help it determine your subject and its location.

Deeper buffer

That on-sensor phase detection isn’t only useful for continuous shooting but it should come into its own when the continuous AF and continuous drive are used in conjunction with one another.

The camera can continue to use PDAF even at its top full-res burst speed of an impressive 24 fps. On top of this, its buffer is now deep enough that it can keep firing away for 150 shots, even with Raw.

PDAF plus 4K

The RX100 V’s 4K video mode certainly looks good on paper: the camera uses a 5028 x 2828 pixel region to create UHD video, meaning it oversamples by 1.3x in each dimension. And with faster sensor readout, there’s less rolling shutter to worry about.

The ability to use phase-detection autofocus while recording 4K video is a benefit, since it reduces the risk of the camera missing focus and having to hunt (and ruining your clips in the process). Sadly, without a touchscreen it’s not quite as useful as it could be.

There’s still plenty to make a video enthusiast happy: a 960 fps slow motion mode (that’s upscaled to 1080/30p) for up to 8 sec, 1080/120p and S-Log profiles are all here.

Look but don’t touch

On that note, here’s a look at the RX100 V’s LCD, and multi-tasking DPR staffer Carey Rose. The 3″ 1.3M-dot screen flips up to a selfie-friendly 180-degrees, and also tilts downward by 45 degrees. Like we said, it’s still not a touchscreen, and that’s a shame.

Wi-Fi on board

Wi-Fi and NFC haven’t gone anywhere, but you’ll find a new way to initiate the connection between the camera and your mobile device: QR codes are available for those of us without NFC, or next-to-useless NFC (we’re looking at you, Apple.)

Battery life

All the advancements under the hood appear to have taken a toll on battery life: the RX100 V’s battery is CIPA-rated to 220 shots compared to the RX100 IV’s 280 shots. Most users will of course get much better performance than that in real world use (since the testing makes more use of flash and image review than most photographers). And there is good news – the RX100 V we’ve been using for initial shooting has performed way over the CIPA rating. Still, an spare battery wouldn’t be the worst idea with an RX100 V purchase.

New waterproof housing

Sony has also unveiled an underwater housing compatible with the entire RX100 series, called the MPK-URX100A for those keeping score at home. It’s rated to a depth of 40m/130ft and includes loads of control points to access settings with the camera locked safely inside. The housing will go on sale in November for $ 350.

Innovation doesn’t come cheap

A long feature list commands an equally impressive price tag – the Sony RX100 V will retail for $ 1000 when it goes on sale in October. For the moment that’s the same price as the Mark IV, but it seems highly likely that its price will come down before too long.

Look for more soon on the RX100 V as we put it to work, including a sample gallery.

Articles: Digital Photography Review (dpreview.com)

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Hands-on and in-depth with the Sony a6500

07 Oct

Sony announces Alpha 6500

Sony has announced the a6500, its top of the line APS-C E-mount mirrorless camera. It may look a lot like the a6300 but it’s a higher spec (and more expensive) sister model.

It’s based around the same copper-wired 24MP CMOS sensor as the a6300 but it adds several key features: most notably in-body image stabilization and touchscreen control.

An even faster Alpha

The a6500 still features the same 425 on-sensor phase detection elements as the a6300 and still shoots at at same 11 frames per second maximum burst rate, but a deeper buffer and additional processor allow it to shoot over 300 JPEG frames in a burst (or 100 frames when shooting Raw + JPEG).

The buffer and additional processing power also allow faster image review after having shot a burst, the company promises, which should avoid the frustrating ‘camera busy’ warnings that previous Sonys have been prone to give.

The camera’s shutter mechanism has been updated and has now been tested to (though not necessarily guaranteed to) 200,000 cycles. Maximum shutter speed remains 1/4000th of a second.

5-axis in-body image stabilization

The a6500 manages to squeeze a five-axis image stabilization system into a camera that’s just 5mm deeper than the a6300. The system is rated as offering 5 stops of improvement when tested to CIPA standards using a 55mm lens.

This system recognizes the presence of Sony lenses with OSS stabilization and passes responsibility for correcting pitch and yaw to the lens. Sony does not claim any additional effectiveness for this approach but we’d expect it to help maintain the 5-stop figure when using long lenses, since lens correction is able to correct for a greater degree of movement than sensor shift stabilization can.

Touchscreen focus

One of the biggest additions to the a6500 over existing models is touchscreen control. Previously reserved for the company’s more point-and-shoot orientated models, the touchscreen makes it quicker to specify the AF point position (a significant frustration with the a6300).

The touchscreen is solely used to set the AF point with no option to control settings or navigate the menus.

This touch-to-focus ability extends to video mode and video focus speed can be adjusted to provide slow, smooth autofocus pulls. However, the camera won’t touch-and-track in video mode: only the older ‘Center Lock-On AF’ system that locks onto the subject at the center of the frame is available.

Touchpad AF

Like Panasonic cameras and the recent Canon EOS M5, the a6500’s touchscreen can still be used as a touchpad to specify the autofocus point when shooting through the camera’s electronic viewfinder. The control of the AF point is always relative, rather than absolute, so you swipe to move the AF point from its current position, rather than touching exactly where you want it to be.

The camera lets you select whether both the touchscreen and touchpad modes are available, letting you disengage the touch sensitivity if you only want to use it with the camera to your eye or only want it active when using the rear LCD.

There’s also the option to disable either the right or left-hand side of the touchscreen, to avoid accidental nose focus, depending on whether you shoot left or right eyed. The touchpad can again be set to disable when you turn the camera into the portrait orientation.

Revised menus

In addition to the touchscreen, Sony has made several other adjustments to the camera’s operation and control.

The menus have been rearranged to cluster related features together and are now color-coded to make it easier to recognize and remember where a setting lives.

In addition the camera gains a second custom button on the top plate, taking the total number of customizable function buttons to 10.

4K Video

The a6500 offers the same UHD 4K capabilities as the a6300. It can shoot 4K/25p and 24p from the full width of its sensor, meaning 1.56x oversampling in each dimension. This gives very highly detailed footage, compared to taking a ‘native’ crop from the sensor. 30p 4K is taken from a smaller crop.

Sony has said nothing about changes in thermal management, so it’s likely the camera won’t be able to shoot for the full 29 minutes in warm conditions or similarly long clips back-to-back. However, with the latest firmware, we haven’t encountered overheating as a problem if you’re shooting clips to edit together, so it’s only extended shooting that’s likely to be a problem.

We’re more concerned about any interaction between the camera’s fairly high levels of rolling shutter and the movement of its 5-axis image stabilization system. Stabilized 4K video could be a hugely valuable capability of the camera but we’ll wait to see the footage before getting too excited.

Video capabilities

Like the a6300, the a6500 has a built-in mic socket but no headphone port for audio monitoring.

It also continues to offer the in-depth ‘Picture Profile’ video response modes including ITU 709 and both S-Log2 and S-Log3 gamma curves. The camera records internally at up to 100Mbps for 4K recording and requires you us a U3-rated UHS-I card. It’s happy to record to either SDXC or SDHC cards.

Internal recording is 8-bit 4:2:0 while HDMI out is 8-bit 4:2:2.

In summary

The a6500 is a very well specced camera: 5-axis stabilization, 11 fps shooting with AF, 4K UHD video capture with S-Log options, a comprehensive AF tracking system, weather-sealed body…

There are still a few things missing, though. Although the camera includes two command dials (one on the shoulder, one on the rear face of the camera), it has the same drawbacks as the a6300: both need to be controlled with the thumb. Worse still, it’s likely that you’ll have to shift your grip on the camera to reach from one to the other.

Still, the addition of a touchscreen and an even greater level of customization over the controls should give quick access to most of the features you need to change in-the-moment.

There’s a price to be paid for these additional capabilities, though. The a6500 will sell for around $ 1400 or €1700 in Europe. As always, bear in mind the European price is likely to include VAT whereas the US price is usually quoted without sales tax. This makes it 40% more expensive than the a6300’s list price and over twice the launch price of the more modest a6000.

So, while the technologies and capabilities of these three models are very different, the visual similarities risk causing customer confusion.

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Throwback Thursday: Sony Cyber-shot DSC-R1

30 Sep

With a few exceptions, 2005 was a fairly typical year for new digital cameras. There were millions of point-and-shoots, some ultrazooms (which, back then, were closer to 12X than 60X), and a handful of DSLRs.

In September of that year something big arrived (literally and figuratively): the Sony Cyber-shot DSC-R1. The R1 was the first non-SLR camera to sport an APS-C image sensor – a giant leap from what most compacts were using at the time (2/3″ was about as big as you got.) It was the first cameras (or one of the first) with an APS-C sensor that could provide continuous live view – which was a challenge back then due to heat dissipation. (It’s worth noting that the R1 doesn’t capture video because of heat build-up.)

The difference was between the 2/3″ sensor on the DSC-F828 and the APS-C model on the DSC-R1 is substantial. It’s more than 5X larger, to be exact.

This 10.3MP sensor offered an impressive ISO range of 160-3200 and could shoot three shots in a row at a whopping 0.3 frames per second. And did I mention that it could shoot Raw?

The R1 had a lot more going for it than it’s big sensor, though. Its design was, and continues to be, one-of-a-kind. Oh, where to begin.

What jumps out the most for me in the above photo is the LCD. Two inches in size, it flipped up and rotated 270 degrees. It could be laid down flat, flush with the top of the body, which was good for street shooting or tripod work. Its placement did have a drawback (for some, at least), which you’ll see in a moment.

Perhaps my favorite feature on the camera was its manual zoom ring. This popped up on a few ultrazoom cameras back then, but then went the way of the Dodo bird. Note to camera manufacturers: bring it back on your long-zoom cameras! The ‘Carl Zeiss’ lens had a range of 24-120mm (equiv.) a max aperture range of F2.8-4.8, and incredible sharpness. As Phil Askey said in the conclusion of his review, ‘the lens is worth the price of the DSC-R1 alone.’

As you can see, the DSC-R1 had a large electronic viewfinder that protruded way back from the rear of the camera. While the 232k-dot resolution was nothing to write home about, it was a large finder and offered an eye sensor. The R1 also offered twin control dials AND a joystick for selecting an AF point.

Something nice about the cameras of that era were all the direct controls. Want a button for spot metering? You got it. A flicker reduction switch? Sure (it’s the framing/preview switch – something I had to look up in the manual.) The menu system is classic, with a 1980s-style font and Nintendo-like beeps when you operate it.

Keeping with the ‘premium’ theme, the R1 offered two memory card slots; one for CompactFlash, the other for Memory Stick. You had to use a physical switch to choose between the two, and who knows what would happen to the universe if you were using a Memory Stick Select card.

Remember my mention of the trade-off of having a top-mounted LCD? You’re looking at it. The DSC-R1 had an offset hot shoe, which some people like, and some people don’t. While the above photo is an extreme example, having a large flash up there did make the camera a bit awkward to hold. (Apologies for the Canon flash – we’re fresh out of Sonys in the office.)

The Cyber-shot DSC-R1 was a one-of-a-kind camera that had no successor. As Phil Askey points out in his exhaustive review of the R1, it was a product that had a considerable amount of both pros and cons, though it still earned a ‘Highly Recommended’ score, due mainly to its spectacular lens and relatively low price of $ 999. While it’s unlikely that you’ll ever see an R1 ‘in the wild,’ it’s totally worth playing with this beast if given the chance.

DPReview is grateful to Mark Weir of Sony Electronics for lending us the DSC-R1.

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Sony announces price and release date for FE 70-200mm F2.8 GM OSS

28 Sep

Sony has released information regarding the availability and price of its delayed 70-200mm GM lens for its E-mount system. The FE 70-200mm F2.8 GM OSS was originally supposed to arrive in June or July this year, but the company announced it would be delayed until this month. The good news is that the lens will become available for sale on September 30th, but the bad news is that those orders could take up to three months to fulfill as Sony expects the lens to popular and that demand will out-strip supply for some time.

Sony has also said that the 2x converter that goes with the lens will be on sale at the same time, while the 1.4x model can be ordered at the end of October.

The company displays prices of 330,000 yen (approx $ 3300) for the lens and 70,000 yen (approx $ 700) for the 2x and 1.4x converter, though retailers are advertising the lens for the $ 2600/£2500 originally quoted.

For more information see the Sony website or see the translated version of the announcement.

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2017 Sony World Photography Awards accepting entries

25 Sep

2017 Sony World Photography Award entries

The Dinagyang Festival is a religious and cultural festival in Iloio City, Philippines held on the fourth Sunday of January

The 2017 Sony World Photography Awards are open for business and accepting entries in four main competitions: Professional, Open, Youth and Student Focus. The Open competition includes 10 separate categories including Architecture, Street Photography and Wildlife, and Open competition entries are automatically submitted to an applicable National award.

If you’re looking for some inspiration, you can find how one DPR regular took home a World Photo National prize last year, and flip through a selection of early entries here. Submissions will be accepted for the Open and National competitions until January 5, 2017.

2017 Sony World Photography Award entries

Little bears can be very busy and the cub residents of Free the Bears Fund’s enclosure number six in Cambodia are no exception. ‘Bear Apartment Six’ is a composite print made up of 16 photographs taken by photographer Alex Cearns. The single images have been meticulously pieced together to form a visually enthralling scene of bustling bear activity, indicative of an apartment building. Photographed over 90 consecutive minutes in June 2016, three sun bear cubs are the stars of the show as they climb in and out of their den entrance. Cheeky, joyful and adorable, sometimes they’re solo and sometimes they’re with their bear buddies. Each bear was rescued from the illegal wildlife trade when they were only a few months old, and will now be in the care of Free The Bears for the rest of their lives.

We have 2 year old Bearzilla, seized from people keeping him as a pet in Phnom Penh; Pooh, aged just under 2 years, surrendered by developers building a hydro dam in the Stung Treng Provence; and 15 month old Soriya Sundance, handed over by a Government Official who obtained her from ethnic minority hunters in the Mondulkiri Province.

2017 Sony World Photography Award entries

A manta ray swimming in the Indian ocean, Indonesia.

2017 Sony World Photography Award entries

Part of the series ‘The Flower Keepers’, a personal series exploring my imagination and thoughts, creating whimsical characters in a world filled with flowers.

2017 Sony World Photography Award entries

Waste from a paper mill is agitated by aerators, producing steam and foam, which are pushed by the wind. Clearwater Paper Reservoire, Lewiston, Idaho. Aerial Image (shot from a plane at 1,500 feet).

2017 Sony World Photography Award entries

This picture was taken in the forest area of Jaipur, Rajasthan (India). Rajasthan has a huge population of the National Bird and they are found in most areas (both urban and rural). This picture was taken during rain season, in which it’s a common sight to see the Peacocks dancing.

2017 Sony World Photography Award entries

Digital edition

2017 Sony World Photography Award entries

The Warsaw University of Technology (Polish: Politechnika Warszawska; literally, “Warsaw Polytechnic”) is one of the leading institutes of technology in Poland and one of the largest in Central Europe.

2017 Sony World Photography Award entries

There was a diving practice, after that, the swimming coach was swimming in the pool, and I was standing in the 5m diving platform, waiting for the right moment, although the light was quiet dim, I still managed to get this shot.

2017 Sony World Photography Award entries

On 8.23.2016, I was traveling to Sertar County (a county of Sichuan Province, China), and visited the Serthar Buddhist Institute here, Lamaism’s piety and the grand scene shocked me. I have never before feel my heart be so pure. When I wanted to take a photo there was a Lamaism walking by – so I got this photo.

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Teardown reveals Sony image sensors in iPhone 7

24 Sep

Patent and technology consultancy Chipworks has published its iPhone 7 teardown and reveals that front and rear image sensors on the new Apple models are supplied by market leader Sony. This is not too much of a surprise as earlier iPhone models used Sony sensors as well. In its report Chipworks doesn’t say which exact sensor model has been deployed in the rear camera but we know the 12MP chip uses the Exmor RS technology platform, a Bayer RGB color filter array and on-sensor phase detection. Its die size is 5.16 mm x 6.25 mm (32.3 mm2) as measured from the edges of the die stack.

On the FaceTime front camera the resolution has been increased to 7MP. The Sensor is also a second generation Sony Exmor RS model and measures 5.05 mm x 3.72 mm (18.8 mm2). Chipworks has not treated the larger iPhone 7 Plus model with its dual-camera to the teardown procedure yet, but we would expect both sensors in the dual-camera to come from Sony as well. For now you can find more technical detail in the iPhone 7 teardown on the Chipworks blog.

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True Colors: Sony Glitter-Bombs an Abandoned Romanian Casino

23 Sep

[ By SA Rogers in Abandoned Places & Architecture. ]

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An abandoned Romanian casino long past its prime is infused with new life in the form of thousands of colorful glitter bombs in this striking ad by Sony for its range of BRAVIA 4K HDR televisions. The whole thing was shot in 4K, capturing every little piece of glitter as it explodes out of popping balloons packed floor-to-ceiling inside the aging structure. Over 4,000 balloons and 3,300 pounds of glitter were used to create the ad.

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Onlookers began to gather outside the casino on the day of the shoot, drawn by the strange sight of all those white balloons stacked up inside the elegant arched windows. In the film, a single balloon begins tumbling through the space until it’s almost entirely filled with them.

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As you can probably imagine, it would have been hard for a photographer to hit the trigger fast enough to capture the action at just the right milliseconds – but they found a clever way around that. High-speed photographer Fabian Hefner attached a noise sensor to his camera shutter so it triggered every time a balloon popped.

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Sony commissioned singer-songwriter Tom Odell to re-record the Cyndi Lauper song ‘True Colors’ for the ad, which will be released as a single on September 30th. Watching the whole video is definitely worth a few minutes of your time, just for the satisfaction of seeing glitter spew absolutely everywhere – in 4K, if your connection allows.