Alphatracks

Aug 23, 2010 Sony Alpha cameras are in the news in a big way, thanks to a flurry of announcements about their high-end dSLR and Translucent Mirror cameras.

Translucent what? Sony has announced the A55 and A33 cameras, which look like conventional dSLRs…but are actually a form of Pellix Mirror cameras.

Although the concept of a Pellix or half-mirror camera has been around for decades, Sony has adapted the translucent mirror concept to a modern electronic viewfinder to create a whole new animal.

The implications of utilizing this system in the Sony Alpha are quite exciting. The biggest benefit involves shooting video, since the Pellix technology allows the camera to maintain fast autofocus while shooting, eliminating a limitation that plagues dSLR video cameras from other manufacturers.

The translucent mirror uses beam-spliting technology to direct some light to the focusing sensor, while the rest of the light passes directly through the mirror to the imaging capture sensor. Thus the A55 and A33 can use fast phase-detection auto focus, even when shooting video.

To date other most other dSLRs handle the focusing issue by not offering auto focusing at all, or using slower Passive autofocus.

While I suspect that solving video issues is the main reason Sony has chosen to go down this road, there are several other advantages that photographers can look forward to in Sony Alpha translucent mirror cameras.

Because the mirror doesn’t need to flip up for each shot, the cameras is able to deliver faster frame rates. In the 1970s, Canon produced a high-speed motor-driven version of the F1 film SLR equipped with a pellix mirror. It was specifically aimed at sports and technical photographers looking for high-speed capture.

Because of the non-moving, translucent mirror, the Sony A55 can shoot at 10fps, an outstanding frame rate for a dSLR priced under $800. (US price is $749.)

Secondly, the Pelilx camera should be much quieter. Typically, shutter noise isn’t a big issue, but there are times when the noise generated by that flipping mirror can be objectionable. Shutter noise can negatively impact wedding ceremonies, speeches, training classes, undercover surveillance, wildlife photo shoots and other quiet events. I love shooting with my Sony Alpha dSLRs, but I keep an old Minolta Dimage 7i around because it can shoot in absolute silence. I don’t use it often, but I have captured images I never would have gotten because of the noise of a conventional SLR or dSLR would have interrupted the proceedings.

Finally, the photographer can follow fast action without the mirror blacking out the scene each time the shutter fires. In fact, the viewfinder will never black out, since the mirror will always be projecting light to the viewfinder, even when the shutter is open.

Sounds great, you say. Sign me up.

Before you get too enamored about the translucent system, there are good reasons you don’t see too many Pellix cameras on the market.

First that beam-splitting technology means the sensor and viewfinder have to share the available light. In bright sunlight it isn’t a problem, but as the illumination fades, any light reflected to the viewfinder must be subtracted from the light falling on the sensor. As a result, Pellix cameras are not known for their stellar low-light performance.

Sony has solved this problem by replacing the conventional optical viewfinder with an electronic viewfinder (EVF). (There is also a live-view LCD on the back.)

When you look through the eye-piece on a Alpha A55 or A33, you will actually be looking an electronic viewfinder — a feature the aforementioned DiMage 7i offered a decade or so ago. There is one big difference. The EVF in the old 7i was prone to smearing if the camera or subject moved quickly. I haven’t yet had a chance to play with a A55 or A33, but the newer EVF cameras I’ve used recently rival an optical viewfinder in refresh speed. Hopefully the new Sony models will have a similar high-performance EVF.

Because the EVF can amplify the signal in the viewfinder, we can expect that the view from the finder in the new cameras will be bright and clear in dim light, something that could not be said about old-scholl half-mirror cameras.

A third possible drawback involves dust on the mirror. In current dSLR designs, dust on the mirror is meaningless. Dust on the sensor is a concern, but anything on the mirror has no effect on the final image.

Since pellix style camera actually shoot through the mirror, however, crud on the mirror could reduce image quality.

I have no experience with pellix mirrors, but I am told that they are usually quite delicate. Will it be easy to keep the translucent mirror dust-free? Is the mirror easy to clean? Only time will tell.

I’m quite excited by the new Translucent cameras, and might just pickup one of these in the near future. Of course there are other items that must be budgeted for. Sony has also announced two new conventional dSLRs (with video capabilities) and three new lenses. I’ll discuss those in my next post.

The Sony Alpha A55 is available for pre-order for $749.00 at Sony Style

The Sony Alpha A33 is avialable for pre-order for $649.00 at Sony Style

These are the body-only prices. The A55 and A33 use the complete range of Sony and Minolta A-Mount lenses.

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June 10, 2010: Remember when Sony waited a full 18 months to introduce a new dSLR after releasing the A100? Now it seems they seldom wait more than 18 days before releasing a new model. Okay, that may be a slight exaggeration, but the Sony dSLR factory will soon be cranking out two new entry-level models: the A290 and A390.

Sony is aiming the new A-mount cameras at first time dSLR users, and the specs are similar to earlier Alpha starter dSLRs. The new cameras are obviously closely related, the principle difference being the tilting live view system on the A390.

Both cameras will use a 14.2 megapixel sensor, and they include the usual Sony Alpha feature set: Steady Shot image stabilization, Sony and Minolta A-mount lens compatibility, pop-up flash and 9-point auotfocus system.

A couple of things set the new modles apart from earlier editions. There is a new grip design, which Sony claims is more comfortable to use. in addition, both cameras include HDMI output and BRAVIA Sync, so you can view images on your big-screen television if you are so inclined.

Because Sony is targeting first time dSLR buyers with these cameras, both models include Sony’s on-screen Help Guide and Graphic Display program.

The tilting live-view follows the design first offered in the A350 and A300.

Sony of Europe has announced that the A290 and A390 will be available in Summer 2010. Will the new cameras be sold in the United States? So far, there is no mention of the new cameras on Sony’s US web site. The Sony A450, profiled here some months back, has been on the market for several months…but it is not sold in the US.

Will Sony offer the A290/A390 in the USA? Or do they have something else in mind?

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May 10, 2010 If you’ve been caught up in the excitement of the imminent Nex-3 and Nex-5 EVIL cameras from Sony, you may have overlooked the bells tolling for the A900.

Several rumor sites are claiming that Sony’s Hong Kong site is listing the A900 as discontinued.

Curious, I checked the site myself. I couldn’t find anything expressly saying  the A900 was discontinued, but significantly, the A900 was not listed among the Alpha dSLRs offered for sale. The site lists the top model as the A850.

It could be a simple error, but I am inclined the rumors have at least some truth to them, I don’t have access to sales figures, but I would guess that A900 sales have flatlined since the introduction of the Sony A850. The cameras are nearly identical, but the A850 can save you several hundred dollars. Unless you really, really need the faster frame rate of the A900, the A850 is a much better bargain.

Does this mean the A850 is the new flagship? I doubt it. I would assume that there is a new flagship on the launching ways, and Sony will replace the A900 with something better. At least I hope that is the case.

Some of the rumor sites are expecting an A900 replacement to be announced along side the new Sony EVIL twins.

I’m not so sure about that. I think a brand new top-of-the-line dSLR deserves it’s own special day. At the same time, a completely new camera system should have it’s own special day.

I could be wrong, but I would expect we will see the Sony Nex models first, with a new full-frame dSLR (if there is one coming soon) following some time afterward.

We may know as soon as tomorrow, as Sony has apparently chosen May 11 to announce the Nex system.

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April 22. 2010 A few weeks ago, I attended the “Picture Perfect” weekend at the Daniel Stowe Botanical Gardens. The program included several photo workshops and gear demonstrations. After the workshop concluded, I wandered over to the Orchid Conservatory and collected some new images.

The conservatory is great location for photographs. In the first place, it is filled with exotic, colorful flowers, most of which you won’t see in the average garden. So the conservatory offers up an almost unlimited array of vivid subjects.

Beyond that, the lighting at the DSBG Conservatory is fantastic. There is glass in nearly every direction, and the resulting shadow-free light can turn an ordinary snapshot into a portfolio photo.

Finally, because you are indoors, there is no breeze to disturb the leaves and petals. Don’t get me wrong, I love taking my Sony Alpha dSLR outdoors and capturing nature photos. But when you are trying to capture razor sharp close-ups, any kind of breeze becomes a frustration. You get the composition just right, then a cats paw comes up and shifts your subject around.

Inside a conservatory, there are no sudden gusts, so the flowers remain stationary while you arrange your shot. You can take all the time you need to set up your image, confident that the focus and composition won’t change.

I put together a gallery of my best images from the DSBG Orchid Conservatory. While there was plenty of light to shoot hand-held, I used a tripod for the bulk of the shooting that day. Because my subjects were unlikely to move, placing the camera on a tripod allowed me to set critical focus knowing I wouldn’t shift the lens toward or away from the flowers.

Although I used a wide-ange lens to capture some establishing shots, photographing orchids is work for long lenses. I used the Minolta 70-210 f/4 “beercan” for the majority of my gallery images. The beercan features a close-focusing mode, as well as wonderful bokeh in the out of focus areas.

I’m pretty happy with my results. If there is an indoor conservatory in your area, grab a tripod, your camera and some long, close-focusing lenses. If it is anything liker the Daniel Stowe Conservatory, you will come away with some great photos!

View the DSBG Orchid Gallery

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March 17, 2010 If you’ve got a strong stomach, you might want to take a look at the A200 photo essay on the English Russia website.

The photos examine a very mangled Sony Alpha A200 dSLR. I don’t know what happened to this camera, but it’s demise was very violent. It wasn’t just dropped or knocked off an end table.

Since the site doesn’t explain how the camera got in this state, I let my imagination fill in the blanks. It might have been tossed off the observation deck of a very tall building, or someone may have left it on the roof of their car and it flew off at 70mph. It might have been run over by a truck. My favorite theory is that a paparazzi tired to surprise Chuck Norris and Norris deftly dismantled his camera with his feet.

Whatever happened to the poor A200, its days as a fine photographic instrument are over. The only thing this wreck of a camera could capture is dust.

But that isn’t to say the dSLR is completely useless. It will never record an image to a memory card again, but it can serve as a learning tool. The people at the English Russia site grabbed a screwdriver and a working camera and proceeded with a thorough autopsy of the dead dSLR.

If you love fine cameras, the photos are disturbing, but fascinating. These photos may be a little too graphic for A200 owners. Consider this a warning. If you have nightmares after visiting the site, don’t blame me.

Not a dSLR repair manual

This is not a disassembly manual. These photos won’t teach you how to repair your Sony Alpha A200.

Instead, these images are reminiscent of a high-school biology class, where the students dissect a frog to see what is inside. The students don’t intend to put the frog back together afterward, so they simply cut away muscle and sinew to get to the more interesting bits underneath.

That’s exactly what happened with the A200. They dismembered the camera to see what was inside, knowing they couldn’t hurt anything. The camera was dead, repairing it wasn’t an option. So they delved deep into the innards and recorded what they found.

I’ve seen pristine cut-away cameras from Sony and other manufacturers. Those photos don’t have the impact the photos (apparently taken by Jollypix.com) have. Looking at the guts of the camera, you gain a deeper appreciation of the complexity inside an ordinary dSLR. Don’t forget that the A200 has fewer features than Sony’s high-end dSLRs. What would the innards of an Alpha A900 or A850 look like?

My original Minolta SRT was a fully mechanical camera. The only electronic hardware was in the meter. Each subsequent SLR I bought added additional circuitry, becoming more and more electronic inside.

Examining these amazing photos shows just how far cameras have advanced from the old mechanical cameras of the past. It also makes me wonder how the inside of my dSLR can be so packed with circuits and ribbon cable, yet be so reliable. It seems like there are all manner of things that could go wrong. Yet my cameras continue to function well and record outstanding images under very demanding conditions.

These images should make all of us appreciate our cameras and how special they are. They are also a reminder to the paparazzi in us all to keep our dSLRs away from Chuck Norris!

See the Sony dSLR dissection at the English Russia website.

Additional photo at Jollypix.com

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Sony teased Alpha photographers with several interesting “concepts” at the latest PMA show. As these are concepts, there is no definite word on when or if these cameras will appear. Still, the concepts Sony has shown at previous PMA shows have come to fruition, and Sony has already hinted about the new lenses they showed off at Anaheim.

Sony’s new concepts include:

• Concept model of an ultra-compact interchangeable lens digital camera system that packs the quality of a DSLR camera in an extraordinarily small body, along with interchangeable lenses
• Mid-range concept camera for advanced users (a successor to the α700) as well as concept mainstream models
• Prototype of a Super Telephoto Lens (500mm F4 G) with class-leading optical performance
• Prototype of a Distagon T 24mm F2 ZA SSM, new Carl Zeiss wide angle lens for superior shots of landscapes and sweeping vistas

The new “mirrorless” concept is NOT a 4/3 type camera, but appears to be Sony’s own design. It will offer interchangeable lenses on a tiny body similar to a larger point and shoot. It will carry the Alpha name, but I can’t be sure it uses A-Mount lenses. I hope Sony will not attempt to produce two separate lens lines.

The other two dSLRs are look more conventional. Neither model has a model name engraved on it, and it is difficult to see where Sony could actually add a model name, as there doesn’t appear to be any room between the grip and the prism.

The A700 successor appears smaller and more rounded than the original A700. I don’t see a PC sync port, but there is a top mounted LCD panel. No word if the new model will have video, but it does appear to have a pop-up flash.

The other dSLR is much smaller. Based on the comparison between it and the A700 replacement, it is possibly the smallest dSLR on the market. Sony hasn’t provided an indication of the sensor size or megapixels, but I think it might create a lot of interest for those who want a compact dSLR that still has an optical mirror.

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Remember the time when some people said Sony wasn’t serious about the dSLR market because it took the company 18 months to release another camera after the initial A100 came on scene? Now we know what the Sony Engineers were doing during those 18 months; they were busy creating cameras to fit every conceivable dSLR niche. Not content with the six (or was it seven?) new Alpha models introduced in 2009, Sony is starting off 2010 with another entry in the crowded low-end of the market.

Introducing the new A450

The new entry, dubbed the A450, takes the highly regarded A550, ditches the Quick Live View and the tilt-out LCD but maintains the fast 7fps burst mode. In addition, Sony claims the NPH500 battery should give users over a 1000 pictures on a single charge.

The is also an auto HDR mode, and naturally the camera includes the popular Stay Shot image stabilization feature. Another new feature is the Manual Focus Check Live View, which can preview the image at 7x or 14x image previews.

A significant new dSLR

Some people have already started dismissing the new entry, since it lacks some of the more compelling features of the A550 and does not offer video. If Sony prices this A450 right, however, I think it will be a very significant entry in Sony’s dSLR arsenal.

Fist, as I already said, Sony’s selection of lower end dSLRs is getting quite crowded. I think Sony might start weeding out some of the A230, A330 and A30 models once the A450 is on the scene. The A450 can’t replace all of those models by itself, obviously. But since it is less full featured than the A550, Sony will have price the A450 much lower to make it attractive.

The 12mp A500 lists for $749, while the 14mp A550 is priced at $949. So where will the A450 come in?

There isn’t much room between the A380 and the A500 for the A450 to play in. If the A450 drops below the price of the A380, then buyers will have an interesting decision to make. Grab the A380 with the tilt-out Live View or go for the A450 with its 7fps shooting speed and nearly twice the battery life.

If Sony prices the A450  higher than the A500, the new camera might be hurt by the A500. Price the A450 under the A500 and you might just kill sales of the A500.

Sony hasn’t officially announced the A450 at this point, but the Sony press release is all over the internet. It is expected that the official announcement will come at the CES show this week. While the release doesn’t indicate a price, it does say the camera will be available in February, 2010.

You’ll find the Sony Global Alpha A450 presentation here. Sony has also made available a detailed A450 Spec Sheet in PDF format.

I’ll have more on the A450 as details emerge.

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Dec. 23, 2009 My family spent a recent evening at the Billy Graham Library to enjoy the wonderful Christmas decorations. My Sony Alpha was welcome, no restrictions on photography, except that flash cannot be used in the exhibit halls.

No problem, I simply cranked the ISO up to 800 and shot without a flash. As I have said in the past, I am usually conservative about ISO, but I enjoyed the freedom that comes with shooting at a high ISO.

The Library featured decorations inside and out, and as an unexpected bonus, there was a heavy layer of fog in the area. I hate driving in fog, but it adds drama and mystery to photos. The mist defused the lights, producing interesting streaks and shadows.

You can visit the Christmas photo gallery here. Let me know what you think.

Wishing all my readers a Merry Christmas and a great 2010!

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(Part 2 of 2. Read part 1 at: Halloween Photos: Break the Rules to achieve Maximum Interest)

Electronic Flash is a great tool, but it isn’t the answer to every application. Well-lit subjects don’t convey creepy or sinister very well. So you can leave the flash home and welcome the dark shadows and eerie blotches of light you get when you shoot after sundown without artificial light.

As a rule, I like the steadiness of a tripod, but this is a case where a tripod will just get in the way. Do you really want to open up a tripod around a group of excited kids (or young-hearted adults) wandering around wearing masks? The mask reduces vision, making it likely someone will trip over your tripod legs. I don’t think it is worth the hassle or the risk.

If you absolutely have to have some sort of support, you could consider a monopod. I prefer to just use the Steady Shot feature in the Sony Alpha. As long as you use a fairly short focal length, you can get sharp images with Steady Shot at shutter speeds of less than 1/8 second. If your subject moves you’ll see blur, but camera shake won’t be a concern. Once again, you can use the blurring caused by subject movement as a special effect. It’s not a drawback…it is art!

You can also try deliberately moving the camera during long exposures to exaggerate light streaks. If your subjects are carrying flash lights or light sticks, there is the ever popular technique of light writing. Take a long exposure and swing the lights to create light trails by drawing in the dark.

Whose afraid of noise?

I’m usually conservative about ISO and I normally avoid the higher ISO ranges. High ISO generates noise, so I use whatever techniques I can to keep a moderate ISO setting. I think this is one time when I might abandon that caution and crank the ISO up to the max. While I don’t watch many horror films, I’ve seen the previews of recent films of this genre. Ever since the Blair Witch Project, Hollywood films have appeared with obvious film grain, bad lighting, jerky camera work and severe vignetting. Why not join this trend (just for one night) and capitalize on high ISO and maximum noise?

I’m not recommending that you shoot all your Halloween images at ISO 3200, but as a creative effect, exaggerated noise might set some of your images apart.

Follow Hitchcock style…less is more

Since we are breaking rules, throw out the idea of seeing everything in your images. Alfred Hitchcock was a master of this. He would only show you part of something. The scary parts would be hidden in the shadows. You couldn’t see anything, but there was…something. You didn’t know exactly what was there, but the hair on your neck started tingling anyways.

You can use this same technique with your still photography. Reveal only part of a scary costume, hiding much of the character in shadow. Use shallow depth of field to partly conceal a ghoul in a dim, blurry area of your image. Use a highlight to display a vampire’s fangs, while the rest of the creature is obscured in darkness.

Play around with the white balance

The auto white balance on the Sony Alpha typically works very well. This is another area where you might deliberately turn off the auto function and experiment with setting the wrong WB for the conditions. Shooting under tungsten lights with the camera set to daylight WB will yield a red cast in the image. Florescent lighting will look green. Set the camera to the correct white balance for electronic flash, then shoot under tungsten lighting without the flash. The result will cast the image with a deep, ice blue.

You can use this to add the appropriate color shift to your photos. Follow Hollywood’s lead. In the movies, space monsters usually display a green cast, while monsters often take on a blue shade.

Hitchcock style self portrait. The shadow was shot at ISO 3200, with the camera held at my waist. The light came from an overhead street light. The streaks came from a second image, shot at a 1/2 sec. exposure and overlaid on the shadow picture in Photoshop.

Of course, if you shoot RAW, you can easily manipulate the white balance on your computer. Still it is helpful to see the effect of WB range on the LCD screen when you shoot.

Consider Black and White Halloween photos

Another idea is to jettison color all together. Some of the most famous horror movies of all time were shot in black and white. Even some modern feature films resort to monocolor to enhance the spookiness. High contrast black & white images can look truly stark and foreboding. While you could shoot in the black & white mode, I prefer to shoot in color and convert to B&W on the computer.

Programs like Photoshop and Lightroom allow you to desaturate an image while leaving a hint of color in the image. I leave it up to you to think of ways you could use this technique to customize your Halloween photos.

Halloween is a great time to play with special effects filters

If you own special effects filters, dig them out for Halloween. You can get some interesting images by combining special effects filters with bizarre costumes and decorations.

When I started in photography, one common special effect was to smear Vaseline on an old filter. You can smear the grease to create weird out-of-focus patterns that strangely distort the appearance of your subject. This will give you a one-of-a-kind effect that will set your images apart from those of anyone else.

If you want to try this, be sure to use an inexpensive filter. Never use anything like this on the elements of your expensive lenses.

Vary effects, don’t shoot too many of the same type

With any special effect technique, a little goes a long, long way. The first time a person see a nicely done effect, their response is “cool!” After seeing several similar photos in a row, the impact starts to wane. If the entire gallery is composed of the same effects repeated over and over, the viewer will grow bored and restless.

So mix things up. Try a variety of effects, so your gallery or slide show doesn’t look stale. You can even mix in some more conventional straight portraits. These will contrast nicely with the more extreme images and show off the costumes and decorations without any distraction.

I am not advocating that you use these experiments as an excuse to pass off shoddy work as “art.” When I mess around with this sort of thing, I realize that the bulk of my images will be rubbish. Hopefully, however, at least some of this trial and error photography will result in unforgettable images. Even if I fail to achieve anything successful, I will have learned more about abstract photography and what works and what doesn’t. That will make me all the better when I return to shooting my normal, carefully crafted photos.

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October 29, 2009:Sony Alpha rumors are always thick on the ground, but the latest one seems to have some real teeth. The website Lets Go Digital has a very interesting screen shot from a Sony Style web page that clearly shows an entry for the “new” Sony A750.

You can check out the Sony Style Alpha A750 leak here.

Lets Go Digital further speculates the new Alpha 750 will be a 14.6MP, full-frame dSLR, priced between the current A550 and the new A850. If so, this sounds like a sweet semi-professional Sony dSLR: full-frame, low noise and reasonably priced. Bring it!

If you thinking of buying a Sony Alpha, I wouldn’t let this tidbit stop you. It is probably too late to get the A750 into stores before Christmas, which means Sony will probably hold off on the introduction until early 2010. Of course, I’ve been wrong before…

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