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Posts Tagged ‘Sony’

Sony posts significant imaging division income gains in 2015 financial year-end report

03 May

There’s plenty of bad news going around the camera industry lately. Companies once flush with cash from compact camera sales are now struggling to keep sales even. But despite the downward trend on a lot of camera manufacturers’ books, Sony is coming through with some positive numbers. In its latest year-end financial report, the company boasts a 30.4 billion yen increase in operating income for its imaging products division, despite a 1.7% year-on-year decrease in sales.

It’s a familiar story – Sony attributes the gain in income to a more favorable mix of high-value products, no doubt including its full-frame mirrorless line and premium RX-series compacts. Cost-reduction measures are also cited as contributing to the income gains. And though the upward trend is no doubt good for Sony, those numbers aren’t quite as impressive as they seem at first glance. The imaging division’s 2014 figures were hit by significant restructuring charges, bringing down the bottom line by 7.3 billion yen by the end of the year.

Even taking into account last year’s mark-down, Sony has put up some very strong numbers for its imaging products in 2015’s financial year.

Articles: Digital Photography Review (dpreview.com)

 
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Sony patents contact lens camera with blink-triggered shutter

30 Apr

Sony has patented a contact lens that comes with an integrated miniature camera module and all its components, such as image sensor, lens, processor, storage and even a wireless module to transfer images to a smartphone or other connected device. Read more

Articles: Digital Photography Review (dpreview.com)

 
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Sony enables XAVC S recording to SDHC card with a7R II and a7S II firmware update

28 Apr

Newly released firmware updates for the Sony a7R II and a7S II enable XAVC S format video recording to SDHC memory cards. Previously, XAVC S format video could only be recorded to an SDXC card. Sony makes a couple of notes on the use of SDHC cards for XAVC S video – any recorded files larger than 4GB will be split into multiple files to comply with a 4GB maximum file size limitation. Cards must also be at least SD Speed Class 10 and UHS Speed Class U1 or faster. Video recorded at 100Mbps or more must use a UHS Speed Class U3 card.

Articles: Digital Photography Review (dpreview.com)

 
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Raspberry Pi updates camera board with 8MP Sony IMX219 sensor

26 Apr

Raspberry Pi, maker of low-cost miniature computers frequently used in DIY projects, has upgraded its camera board accessory, replacing the previous 5MP OmniVision OV5647 sensor with an 8MP Sony IMX219 sensor. The new sensor is used for both the regular camera board and an infrared-sensitive version, and according to Raspberry Pi, it offers better low-light performance, image quality and color fidelity.

The camera accessory is a simple, small board with a ribbon cable that can be connected to one of the Raspberry Pi mini-computers. Creators have used the camera modules to record images through a telescope and equip drones with lightweight camera functionality, among many other applications. The previously used OmniVision sensor was discontinued in 2014, but a large stockpile allowed Raspberry Pi to continue offering the model until just recently. 

Speaking about tuning the image sensor pipeline, Naush Patuck said:

Regarding the tuning process, I guess you could say the bulk of the effort went into the lens shading and AWB tuning. Apart from the fixed shading correction, our auto lens shading algorithm takes care of module to module manufacturing variations. AWB is tricky because we must ensure correct results over a large section of the colour temperature curve; in the case of the IMX219, we used images illuminated by light sources from 1800K [very reddish light] all the way up to 16000K [very bluish light].

The Sony-based camera board costs $ 25 like the previous version, and is available through RS Components and element14.

Via: Raspberry Pi

Articles: Digital Photography Review (dpreview.com)

 
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Winners of 2016 Sony World Photography Awards announced

25 Apr

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An Iranian photographer has won the $ 25,000 top prize in the 2016 Sony World Photography Awards with a collection of portraits taken to highlight the horrors of acid throwing and the plight of its victims. Asghar Khamseh, a photojournalist with Iran’s Mehr News Agency, was given the title L’Iris d’Or Photographer of the Year a ceremony in London last week, at which he was also named the winner of the Contemporary Issues prize. His ‘Fire of Hatred’ project portrays the shocking injuries that acid throwing inflicts and the mental trauma it can create, but also the pride, strength and dignity of the mainly women and children affected by these too-common attacks.

The ceremony also honored 15 other category-winning photographers across 14 professional competitions, an Open section for amateur photographers as well as student and youth contests. The Open winner, Kei Nomiyama from Japan, won a prize of $ 5000, and all category winners won trophies as well as Sony camera equipment. For the first time a photographer won two categories, with Canada’s Kevin Frayer coming out on top in both the Environment and People competitions.

The prize for Outstanding Contribution to Photography went to a Chinese and Japanese couple, RongRong and inri for their promotion of, and influence on, contemporary photography in China.

The ninth Sony World Photography Awards received 230,103 entries from photographers in 186 countries, and category winners, shortlisted and commended images will be exhibited in Somerset House in London until the 8th May. A book of images is also available.

For more information on the awards visit the Sony World Photography Awards website.


Press release:

Grand prize winners announced for the world’s largest photography competition – 2016 Sony World Photography Awards

Iranian photographer Asghar Khamseh wins L’Iris d’Or Photographer of the Year and $ 25,000 prize for powerful portraits of acid attack victims

London, 21st April 2016: The overall winners of the world’s largest photography competition, the 2016 Sony World Photography Awards, are named today by the World Photography Organisation. An exhibition of all the winning and shortlisted work will run at Somerset House, London from 22nd April – 8th May.

Following a record-breaking 230,103 submissions to its ninth edition, the awards’ Honorary Judging Committee has selected Iranian photojournalist Asghar Khamseh as the recipient of its most coveted prize, the L’Iris d’Or Photographer of the Year.

Chosen from the winners of the awards’ fourteen Professional categories, the winning work, ‘Fire of Hatred’, is a powerful portrait series tackling the social issues around the violent act of acid throwing. Khamseh was announced as the winner of the $ 25,000 (USD) prize at an awards ceremony in London in front of industry leaders. The winners and finalists of all fourteen Professional categories were also announced at the ceremony.

At the ceremony, the World Photography Organisation announced Kei Nomiyama, Japan, as the Open Photographer of the Year and recipient of $ 5,000 (USD). In addition, the organisation announced the winners of the Youth and Student Focus Photographer of the Year titles. All winners of the night received the latest Sony digital imaging equipment.

Scott Gray, CEO, World Photography Organisation comments: “The awards consistently provide an incredible array of work, from a multitude of countries, and most importantlyprovide the chance for photographers to be discovered and extend their careers. I hope that the winning work this year can provide an inspiration to other photographers, helping to push their creative boundaries, whilst also serving to build the wider appreciation of photography.”

The Sony World Photography Awards annually recognises the world’s best photography. Free to enter and open to all photographers, the awards are an authoritative voice in the photographic industry that has the power to shape the careers of its winning and shortlisted photographers.

L’IRIS D’OR PHOTOGRAPHER OF THE YEAR – ASGHAR KHAMSEH
Born in Tehran in 1963, Asghar Khamseh is a photojournalist with Mehr News Agency, Iran, whose work focuses on social issues.

The winning series ‘Fire of Hatred’ is a powerful series of portraits of the victims of acid attacks. This beautiful yet thought-provoking work examines the social issues around this violent crime – looking past the physical and psychological damages suffered, and towards the social stigma and blame the victims, who are mainly women and children, suffer.

Dominique Green, Chair, Documentary Jury said of the work: “Portraits of disfigurement resulting from social violence are undoubtedly a hard-hitting subject, and one which the longstanding tradition of documentary photography does not shy away from. The power of Asghar Khamseh’s imposing series ‘Fire of Hatred’ is such that he enables the viewer to face head-on intimate images, which could be testing to examine closely, with empathy and respect which in turn allows the viewer to become a witness and not just a spectator. The Jury were united in their admiration of this work and the light it shed on the tragic practice it exposes.”

PROFESSIONAL CATEGORY WINNERS AND FINALISTS
The winners of the seven Documentary and seven Art categories hail from 10 countries and, for the first time, two Professional categories have been won by one photographer in the same year. Photographers were judged on a body of work.

ART CATEGORIES
Architecture winner: Amélie Labourdette, France
2nd – Hui Zhang, China / 3rd – Stephan Zirwes, Germany
Candid winner – Kirstin Schmitt, Germany
2nd – Nick Ng, Malaysia / 3rd – Andrea Rossato, Italy
Conceptual winner – Julien Mauve, France
2nd – Alejandro Beltran, Venezuela / 3rd – Barbaros Kayan, Turkey
Landscape winner: Maroesjka Lavigne, Belgium
2nd Maoyuan Cui, China / 3rd Stefan Schlumpf, Switzerland
Portraiture winner: Marcello Bonfanti, Italy
2nd Fauzan Ijazah, Indonesia / 3rd Rubén Salgado Escudero, Spain
Staged winner: Alberto Alicata, Italy
2nd Cristina Vatielli, Italy / 3rd Kristoffer Eliassen, Norway
Still Life winner: Francesco Amorosino, Italy
2nd Oliver Schwarzwald, Germany / 3rd Hiroshi Watanabe, Japan

DOCUMENTARY CATEGORIES
Campaign winner: Jetmir Idrizi, Kosovo
2nd – David Chancellor, UK / 3rd – Antoine Repessé, France
Contemporary Issues winner – Asghar Khamseh, Iran
2nd – Kevin Frayer, Canada / 3rd – Simona Ghizzoni, Italy
Current Affairs winner – Angelos Tzortzinis, Greece
2nd – Andrea and Magda, Italy & France / 3rd – Andrew Burton, USA
Daily Life winner: Espen Rasmussen, Norway
2nd Sandra Hoyn, Germany / 3rd Stephanie Sinclair, USA
Environment winner: Kevin Frayer, Canada
2nd Li Feng, China / 3rd Lucy Nicholson, UK
People winner: Kevin Frayer, Canada
2nd Filippo Venturi, Italy / 3rd Alessandro D’Angelo, Italy
Sport winner: Nikolai Linares, Denmark
2nd Jens Juul, Denmark / 3rd Annick Donkers, Belgium

OPEN PHOTOGRAPHER OF THE YEAR – KEI NOMIYAMA, JAPAN
“Enchanted Bamboo Forest” by Kei Nomiyama was selected as the single best image in the world by a panel of judges chaired by Jael Marschner, former picture editor Time Out London / Sunday Times Travel. The photographer was awarded $ 5,000 (USD) at the London ceremony.

A Ph.D. Associate Professor in Environmental Chemistry at Ehime University, Japan, Nomiyama is keen wildlife and underwater photographer. His photograph was shot in the mountains of Shikoku Island and captures the Luciola parvula firefly at the beginning of the rainy season.
The photograph was selected from 10 Open category winners announced on 29th March. The Open competition asks for a single image and is open to all photographers.

YOUTH PHOTOGRAPHER OF THE YEAR – SAM DELAWARE, US
A beautiful portrait of the photographer’s sister won 18 year old student Sam Delaware the Youth Photographer of the Year title. Born in Freeport, Maine and currently attending school in Angwin, California, Delaware is a self-taught photographer who has been shooting since the aged of 12. The photographer was flown to London to attend the awards ceremony as part of his prize.

The winning image was selected from three Youth category winners announced on 29 March, the Youth competition is open to all photographers aged 12-19.

STUDENT FOCUS PHOTOGRAPHER OF THE YEAR
Sofia Jern, aged 23 of Novia University of Applied Sciences, Finland, secured the Student Focus Photographer of the Year title. She collected €30,000 worth of Sony photography equipment for her university at the awards ceremony in London. Jern’s winning work follows the lives of ‘glue boys’, young male drug users escaping reality on the streets of Kitale, Kenya.

Student Focus works worldwide with over 400 educational institutions with photography courses and is one of the world’s leading programmes for photography students. It is supported by the British Journal of Photography. www.worldphoto.org/student-focus

OUTSTANDING CONTRIBUTION TO PHOTOGRAPHY – RONGRONG & INRI
RongRong & inri, the influential photographic husband and wife team who have shaped contemporary photography in China and beyond, collected their Outstanding Contribution to Photography prize at the London awards ceremony. They were recognised by the World Photography Organisation for both their careers as artists and their significant impact on Asian photography.

RongRong & inri’s photography reflects the intimate world that they have created together and pushes the boundaries of traditional black-and-white darkroom techniques. Together they founded China’s first contemporary art space dedicated to the medium, the Three Shadows Photography Art Centre, and the 2015 Jimei x Arles Photo Festival in partnership with Les Recontres d’Arles.

The first major European showing of RongRong & inri’s work, celebrating their careers will be presented at Somerset House as part of the Sony World Photography Awards Exhibition.
The Outstanding Contribution to Photography prize has previously been awarded to Mary Ellen Mark, William Eggleston, Eve Arnold, Bruce Davidson, Marc Riboud, William Klein, Elliott Erwitt and Phil Stern.

EXHIBITION AND BOOK
All the winning and shortlisted images will be exhibited at Somerset House, London from 22nd April – 8th May. The exhibition will also include a special dedication to Outstanding Contribution to Photography recipients, RongRong & inri.

The exhibition is accompanied by a book of the winning and selected shortlisted works, available to buy from www.worldphoto.org

Articles: Digital Photography Review (dpreview.com)

 
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Quick Intro to the New Sony Cyber-Shot RX10 Mark III

24 Apr

At the end of March (2016) Sony released the new version of their Cyber-shot RX10 Mark III. The main difference between it and its predecessor, the Mark II, is the lens, which is a lot longer. Let’s take a quick look at its main features:

  • 24-600mm f/2.4-4 zoom lens with 3 control rings for focus, zoom and aperture
  • 4K video quality
  • Fast autofocus
  • Magnesium alloy body

This video from B&H photo will show you what the new camera looks like, check it out.

This video by Chakru shows some of the key features and specs:

If you are a travel photographer and want to go light, this might be a good option for you. Or maybe even as a a backup camera to a heavy pro SLR. Perhaps an upgrade from a point and shoot camera is in order, give it a go and see if this is the right one for you.

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The post Quick Intro to the New Sony Cyber-Shot RX10 Mark III by Darlene Hildebrandt appeared first on Digital Photography School.


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Kumamoto earthquake keeps Sony sensor factory shuttered

21 Apr

The major earthquakes that struck Japan on April 14th and 15th have closed Sony’s Kumamoto factory, which primarily manufactures sensors for digital cameras. Due to ongoing aftershocks and inspections of the buildings and manufacturing equipment, it’s not clear when the Kumamoto factory will be back in business.

The company’s factories in Isahaya City and Oita City were shuttered briefly, but have since resumed normal operations. Sony says that the impact on its financials is ‘currently being evaluated.’

Nikon says that it too is affected by the earthquakes due to damage at their component suppliers (Sony is a known supplier of Nikon’s sensors), which has greatly delayed the release of its three DL enthusiast compacts, the KeyMission 360 action cam and a pair of Coolpix cameras. 

Press Releases:

Status of Sony Group Manufacturing Operations Affected by 2016 Kumamoto Earthquakes

(Tokyo, April 18, 2016) Sony Corporation (“Sony”) extends its deepest sympathies to all those affected by the earthquakes in Kumamoto.

Due to the earthquake of April 14 and subsequent earthquakes in the Kumamoto region, the following Sony Group manufacturing sites have been affected:

Operations at Sony Semiconductor Manufacturing Corporation’s Kumamoto Technology Center (located in Kikuchi Gun, Kumamoto Prefecture), which primarily manufactures image sensors for digital cameras and security cameras as well as micro-display devices, were halted after the earthquake on April 14, and currently remain suspended. Damage to the site’s building and manufacturing lines is currently being evaluated, and with aftershocks continuing, the timeframe for resuming operations has yet to be determined.

Although some of the manufacturing equipment at Sony Semiconductor Manufacturing Corporation’s Nagasaki Technology Center (located in Isahaya City, Nagasaki Prefecture), which is Sony’s main facility for smartphone image sensor production, and Oita Technology Center (located in Oita City, Oita Prefecture), which commenced operations as a wholly-owned facility of Sony Semiconductor Manufacturing Corporation on April 1, had been temporarily halted, the affected equipment has been sequentially restarted from April 17, and production has resumed. Sony Semiconductor Manufacturing Corporation’s Kagoshima Technology Center (located in Kirishima City, Kagoshima Prefecture) has continued its production operations after the earthquakes, and there have been no major effects on its operations.

Sony has confirmed the safety of all of its and its group companies’ employees in the region affected by the earthquakes.

The impact of these events on Sony’s consolidated results is currently being evaluated.

Articles: Digital Photography Review (dpreview.com)

 
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Frame by frame: ‘live view’ continuous shooting with the Sony a6300

13 Apr

One of the features we were excited by when the a6300 was announced was the promise of ‘live view’ while shooting continuous bursts of shots. Now we’ve used and tested it, what do we think?

What’s the big deal?

Autofocus systems on mirrorless cameras have been getting better and better with each generation of cameras, to the point that the best of them match (and in some circumstances, exceed) the performance we expect from similarly priced DSLRs.

However, many models still lag behind DSLRs in their ability to show you what’s going on while in continuous shooting mode. The common trick of showing a playback of the last captured image makes it hard to keep up with a moving subject, especially if it moves unpredictably, so that you can’t just compensate for the lag.

The a6300 isn’t the first mirrorless camera to try to offer a live view while continuous shooting (several Nikon 1 models, which use comparatively small sensors to allow fast read-out, even manage to give an uninterrupted feed), but it’s still a rare enough feature to make it worth investigating.

What did we find?

We shot the a6300 side-by-side with the Canon EOS 7D (a DSLR that offers the same 8 fps frame rate as the Sony) and found something interesting. The a6300 has a shorter blackout period than the Canon but turns out to only be showing a single updated frame between each capture. At lower, 5 fps shooting rate, we saw two or three frames on display between captures.

That sounds terrible. It sounds like cheating. but it’s not quite the end of the story. Watch the beginning of the video again – the real-time playback – it looks pretty convincing, doesn’t it?

The fact that it looks so convincing left us wondering: why does the screen ever black out? Why doesn’t the camera just continue to show the ‘live’ image until the next one is available? We think we know the answer.

Note the way that the image doesn’t just cut to black – it fades to black then abruptly cuts to the next update. We believe this is trying to achieve something like the ‘black frame insertion’ technology used in some modern TVs: inserting a black frame prompts your brain to imagine what’s happened between the two frames it’s seen, rather than being distracted by the contradiction between perceiving a sense of movement but seeing static images.

Does it work?

In real-world shooting this is pretty convincing: we only discovered the camera was just showing single images when we recorded it at 240 fps, and even then it took us a while to convince ourselves that we weren’t looking at an error stemming from a clash in display and capture frequencies (temporal aliasing).

So, while the display is only showing you eight frames per second (one between each capture), it’s doing so in a way that gives your brain a convincing sense of motion. The question we wanted to answer was: ‘if the blackout between frames is short enough, and the motion looks fairly convincing, is it as easy to follow action as with a DSLR?’

We spent some time trying to shoot rugby with the a6300 to see how easy it was to follow the game’s fast and unpredictable action. The results were mixed – the camera gave enough information for you to be able to follow the action to a reasonable degree, but not as much as you might want.

The a6300’s live view provided enough information to let us follow the action, but not as much as a high-end DSLR, which meant we reacted more slowly to anything unexpected.

Alongside the a6300 we were also shooting with the Nikon D5, not as direct comparison but because we also need to shoot sports with it. As you might expect, the $ 1000 mass-market a6300 wasn’t as good as Nikon’s $ 6500 professional sports-oriented camera, but it’s the way that it fell short that was interesting.

Although the video further up the page shows that the a6300’s live view looks a lot like real motion and its blackout is shorter than the EOS 7D’s, in use it becomes clear that your brain actually can make use of the extra information the 7D gives you about the subject’s movement.

For example, at the rugby we found that we could keep pace with the action when shooting with the Sony but it would take us longer to react if we made the mistake of believing a player’s dummy-pass and started moving in the wrong direction. With the DSLR we’d spot our mistake sooner and turn back to the real action faster. 

At set pieces, where you have a good idea of what’s going to happen next, the a6300 could shoot with confidence.

Having looked at what the camera’s doing and then put to real-world use, we’d conclude that the a6300’s continuous shooting live view more successful than its single frame update makes it sound. It’s convincing enough to let you keep up with fast action, but there’s still room for improvement as soon as anything unexpected happens.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Cyber-shot RX10 III 4K sample footage and shooting summary

04 Apr

4K Video Sample Reel

All video was shot in Sony’s XAVC 4K codec, at 4K/24p (except for the high-frame rate samples). Shutter speed was locked at 1/50 sec, aperture was manually selected on the lens and the camera was left in Auto ISO. Both manual focus and continuous autofocus were used.

Carey’s shooting impressions

The Sony Cyber-shot RX10 III is a conventional product for Sony. That might sound slightly negative at first, but really it means that the RX10 III is built well, attractively designed, packed with great technology and is capable of capturing excellent images. Unfortunately, it also means that there’s some usual Sony foibles at work; the menu system is horrid, there’s no touch screen, there’s some operational weirdness carried through from the rest of the Cyber-shot line, and some of the ergonomics could use some work.

The standout feature on the RX10 III is its lens. As you can plainly see from our samples gallery, the 24-600mm F2.4-4 lens is stellar. What’s more, while the camera is somewhat hefty for a ‘compact,’ it doesn’t feel unbalanced in your hand. When you combine that stable hand-holdability with the RX10 III’s optical stabilization, the average user will be able to get smooth telephoto video and sharp telephoto photos with ease. The XAVC 4K codec also means video will be crisp and detailed, the flat S-Log2 Gamma control (which was not used in the sample video above) and audio in / out ports indicate that the RX10 III will appeal to aspiring videographers as well.

What about downsides? Well, even if you’ve come from another Sony camera, you’ll need to spend some time figuring out where your menu options are. As mentioned in our RX1R II review, even the video and audio recording settings are spread not just across multiple pages, but also multiple sections of the menu. We also wish Sony would add things like video capture resolution and frame rate to the ‘Function’ menu in movie mode. And though it’s to be expected with such a wide zoom range, some users will be turned off by the amount of time it takes to zoom that impressive lens in and out. Unlike Sony’s a7 cameras, you cannot half-press the shutter to acquire focus in movie mode. It’s either continuous AF or manual focus. My last major gripe is that, like on other Sony cameras, the C1 and C2 buttons require a contorting of the hand to operate.

Overall, though, once you get used to some workarounds and get familiar with the camera, the RX10 III represents one of the most versatile and capable all-rounders I’ve ever used.

Rishi’s shooting impressions

Pros

The standout feature of Sony’s new RX10 III is, without a doubt, its lens. It’s got incredible reach, and with a maximum aperture of F2.4-4, remains relatively bright throughout its zoom range. Brighter max apertures help keep noise (and ISO) levels low, and afford relatively good depth-of-field control (or background blur). A look at our equivalent aperture diagram indicates the RX10 III is well ahead of its nearest competitor, the Canon G3 X (lower equivalent aperture is better for any given focal length). The RX10 III’s lens is also far brighter than Nikon’s 24-500 DL, which ranges from a max aperture of F2.8 on its wide end to F5.6 on its tele end. That said, if you really don’t have much of a need beyond 200mm equivalent, the RX10 II retains a brighter aperture for most of its zoom range, save for on the wide end where the RX10 III is slightly ahead (F2.4 vs F2.8).

The lens appears sharp edge-to-edge even wide open at 24mm equivalent, at 70mm, 200mm, and 600mm. Granted, these are JPEGs we’re looking at, which are sharpened (with a class-leading sharpening engine, no less), so we’ll have to reserve final judgement for when we’ve been able to analyze the Raws, but, suffice it to say we’re thoroughly impressed by the performance of the lens so far. Good performance wide open is important on smaller sensor formats: it means you don’t have to stop down too much and deprive the smaller sensor of more light, which also helps combat diffraction-induced softness (which starts at earlier F numbers with smaller sensor formats, as diffraction is correlated with equivalent aperture).

Sony’s recent improvements in its JPEG engine also mean very high detail retention through smart sharpening and noise reduction that very effectively reduces noise while maintaining detail at high ISOs. This 220mm shot has plenty of detail despite being shot at the tele end of the zoom, and at ISO 320, which is approximately ISO 2500 equivalent on full-frame, assuming equivalent sensor efficiency and performance. Impressive. 

Pair that lens and JPEG engine with a stacked 1″-type high dynamic range, high sensitivity CMOS sensor, and you’ve got a very impressive camera. The stacked sensor design marries a separate chip for memory and signal processing circuitry to the image sensor itself, which allows all that data to be read off the image sensor faster. The faster readout offers a number of benefits: faster autofocus, and fast frame rate video, as well as oversampled 4K video generated from 6K readout.

Cons

How about downsides? There are plenty, ergonomically. The Cyber-shot philosophy is starting to make less and less sense with such high-end offerings, and we wish Sony would instead essentially brand this as an Alpha camera, conferring upon it the advantages of the Alpha line and a consistent user-experience across all their cameras. For example, it doesn’t make sense that the ‘Focus Settings’ option can’t be assigned to the center dial back button on a Cyber-shot, yet can on an Alpha – it’s one of my favorite ways to make that button have dual function: click it to use the 4-way dial to move the AF point in any Flexible Spot mode, or click it and turn the dial to change AF area. As it is, on any Cyber-shot, you can’t assign this option, instead requiring you to leave the button assigned to ‘Focus Standard’ – lest you wish to lose control over focus point placement. That means you’ll have to waste yet another custom button for AF area mode.

Thankfully, pressing that back dial’s center button now toggles the camera into AF point selection mode (like the a6300), which means you don’t always have to first press it to the move the AF point, but this isn’t ideal: I’d also like access to whatever custom functions I’ve assigned left, right, and down to on that 4-way dial. I don’t understand why Sony doesn’t simply include an AF point selection joystick, or add a touchscreen for that matter.

It’s high time to marry state-of-the-art technology with an incredible user experience.

Particularly problematic across all Sony cameras is the menu system. As I wrote in our a7R II review: ’22 AF options are split across 11 different submenu pages under two different main menu headers,’ and things aren’t any better for the RX10 III either. The lack of organization is inexplicable, but what makes it even worse is the lack of a customizable ‘My Menu’. Furthermore, now that these cameras are both stills and video powerhouses, there need to be separate customizations for each. Currently, if I assign a button to ‘Focus Magnifier’ to get around the fact that the camera doesn’t automatically magnify focus as I turn the focus ring in any video mode, that button becomes entirely redundant in stills mode, where the camera does do so.

There are countless other examples of button customizations that are relevant to video, but entirely useless in stills – for a camera body with rather limited customizable buttons and dials, there really shouldn’t be any assigned physical controls that are only useful in one shooting mode. And as Carey mentioned, there also remain the customizations (like movie frame rate or codec) that remain unassignable to the Fn menu, requiring a menu dive, which should be avoided at all costs considering the disorienting, unorganized menu system.

Frankly, Sony would benefit from hiring a firm dedicated to UI to re-design the physical controls, menus and button/dial interface completely from scratch. It pains me to see such refined technological achievement placed into hands of photographers, only to hear ‘I wouldn’t shoot it because I’m constantly fighting the ergonomics’ or ‘it just isn’t a pleasure to use’. An ergonomic overhaul would go a large way to addressing such complaints. 

Articles: Digital Photography Review (dpreview.com)

 
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New normal: Sony FE 50mm F1.8 real-world samples

02 Apr

Sony recently updated its FE line, which now offers 20 full-frame lenses for Sony’s E-mount Alpha cameras. Among the new lens introductions is the FE 50mm F1.8, what you might call Sony’s ‘nifty fifty’. We spent some time shooting with it in San Francisco this weekend, paired with the unforgiving 42MP of the Alpha 7R II. See how the lens holds up in our real-world samples gallery.

Articles: Digital Photography Review (dpreview.com)

 
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