Alphatracks

Generally, the Auto-White Balance function on the Sony Alpha dSLR family does an excellent job of matching the white balance of the sensor to the color temperature of the subject. Occasionally, however, you encounter situations that the auto WB setting just cannot handle.

Complex White Balance dilemma: The wall of the house on the left appears correct, but the girl’s bonnet and clothing look cyan blue. Correcting the blue color (right) yields a raw yellow outer wall.

Last week, I was shooting at the Schiele Museum’s “Inspired by Nature” 18th century crafts program. One of the first things I saw was a woman in a mob cap, seated in the window of the museum’s log farmhouse. I thought it would make a great photo, so I shot several images.

I was pleased with the final results, except for one problem. Although the girl was well lit, the white balance inside the window was off. The outside of the farmhouse looked great, but the girl’s clothing had a distinct blue cast to it.

Because I shot the image in RAW, it was trivial to adjust the WB of the girl’s clothing. I process my RAW images in Adobe Lightroom, so all I had to do is use the white balance eye dropper in the develop module. I clicked on the girl’s mob cap and it instantly corrected the blue cast.

While Miss Mob Cap now looked natural, the exterior of the farm house took on a strange yellow hue. Fixing the white balance of the girl in the window ruined the WB of the rest of the image.

I tried manually tweaking the image with Lightroom’s white balance sliders, but the story was the same. I couldn’t balance both the girl and house and make the image look natural.

There are several ways I could have corrected the problem. I decided on an approach using the layers in Adobe Photoshop.

Localized correction to the rescue

The easiest solution was to just ignore the blue cast. The image would still look good, and the blue cast might even add some mystery to the final image.

A second approach would be to convert the image to black and white. In grayscale, there are no white balance issues. It might also add a historical feel to the image.

The third approach was to manipulate the image so both the girl and the house looked correct. This was the solution I ultimately decided on.

Why Photoshop layers?

Obviously, I needed a way to adjust the girl’s clothing without affecting the color balance of the house. Since Version 2, Lightroom offers tools to perform localized corrections. I could have attempted to fix the cast in Lightroom, but I feel that the local correction tools in Photoshop are easier to use and more accurate. I have nothing against Lightroom. Lightroom’s overall correction tools are first rate. When it comes to local edits, however, I always reach for Photoshop.

Step 1: Create a Virtual Copy

Lightroom allows you to make virtual copies of your RAW images. Because Lightroom keeps all the editing information in it’s database, virtual copies don’t require extra storage space.

FG 149.1: Select the image in Lightroom, then from the Photo menu, select “Create Virtual Copy.” This creates a duplicate in Lightroom’s database that we can work with.

FG 149.2: With copy selected in the Develop module, use the white balance eyedropper and click on an area that should be neutral.

I began by doing some minor color correcting and exposure adjustments to the base RAW image. When I was happy with the overall look of the image, I used the command from the PHOTO menu to create a virtual copy.

FG 149.3: I opened both photos in Photoshop, then simply dragged the yellow version on top of the blue one.

With copy open in Lightroom’s Develop module, I selected the White Balance eye dropper and clicked on the woman’s hat. The exact location wasn’t critical, I was simply telling Lightroom that the area I clicked on should reproduce as a neutral white. When I clicked, LR changed the WB of the entire photo. I now had two images to work with; my original image and virtual copy with the improved indoor white balance. (See Fg 149.3)

I now selected both images and chose export from the File menu. I saved both images as high resolution JPEGs in a folder on my hard disk. Because I used the same settings for export, both images were exactly the same size and resolution.

Step 2: Align the images in Photoshop

I opened both images in Photoshop. For the purpose of this tutorial, I will refer to the photo with the aqua indoor cast as “blue.” I’ll call the image with the yellow farm house “yellow.”

FG 149.4: After opening both images in Photoshop, I dragged the image with the yellow cast directly on top of the layer with the blue cast. To align the layers perfectly, I temporarily changed the top layer’s blending mode to Difference.

I placed the images side by side in Photoshop. I zoomed the the images so I could see both images at once. As long as images are set to the same mode (i.e. RGB) Photoshop allows you to copy between them by clicking and dragging. I simply clciked on the yellow file and dragged the yellow image to the blue file. Photoshop automatically created a new layer from the yellow image.

This resulted in a file with two layers, with the yellow layer on top of the blue one.

To make sure everything was aligned correctly, I temporarily changed the yellow layer Blending Mode to “Difference.” In this mode, any misalignment displays as colored highlights. When you nudge everything into alignment, the color disappears and the screen is an even, dark gray. To make sure everything looks perfect, I generally zoom in to about 400% for this step.

Step 3: Bring on the Pen Tool

After changing the blending mode back to normal, both layers were perfectly aligned, with the yellow layer on top. Now I needed to create a mask for the top layer.

FG 149.5: With the top layer blending set to Difference, it is easy to see where the two layers are misaligned.

I selected the Pen tool from the tool palette. Some people are intimidated by the pen tool, but once you understand how it works, it is really easy to use. Using the pen tool is beyond the scope of this tutorial. If there is sufficient interest, I may create a separate Pen tool tutorial at a later date.

In this case, since I was dealing with the rectangular opening of the window, there were no angles or curves to deal with. So I could fly through my pen tool editing.

With the image still zoomed to 400%, I clicked in the top left corner of the window area. This established a starting point for my path. I then moved the cursor to the top right corner and clicked again. Photoshop immediately drew a path connecting the two points. A path is a line overlaid on the image in Photoshop. It is not part of the final image and can be turned on and off as you work.

FG 149.6: The most accurate way to create a selection is with the Pen tool. The idea will be to outline the window area so the rest of the layer can be masked away. The Pen tool will allow me to precisely follow the window sill frame.

FG 149.7: The white line overlaying the red border indicates the path I created.

I then clicked about part way down, where part of the window sill protrudes into the cabin. Photoshop drew a second line, connected to the first path line I had established. Each time you click with an active path, Photoshop will extend the path to a new point.

After carefully tracing around the inner windowsill on the right side of the window, I continued to extend the path across the bottom and up the left side. I completed the path clicking on my original point in the top left corner of the window.

I now had a path that exactly outlined the inner window area, which happened to be the only area on the yellow layer that had the correct white balance.

Step 4: Create a layer mask

Now the magic. I opened the Path palette and made sure the path I had just drawn was active. Then I clicked on the “Load Path as a selection” tool at the bottom of the path palette. This created selection exactly matching the path.

FG 149.8: The red arrows point to the “marching ants” selection indicator. This tells me that I have a selection around the window area.

Lets review. If you think through the steps, you know that I had two layers, exactly overlaying each other. I now had a selection area precisely outlining the window area on the yellow layer.

Making sure the yellow layer was selected in the Layer palette, I chose the Add Layer Mask command from the Layer menu. Photoshop gave me a choice of “Reveal Selection” or “Hide Slection.” Because the area inside the selection contained the proper white balance, I chose Reveal Selection.

Immediately, Photoshop created a mask that matched my selection. Everything outside of the selection on the yellow layer became invisible. It was still there, and if I removed or edited the mask, I could recover the hidden part of the layer. For all intents and purposes, however, only the window area inside the mask remained visible. The bottom blue layer shown through everywhere except the window area, which was covered by the correctly balanced window from the yellow layer.

Success!

Both the outside and inside areas in my image now looked natural. All I had to do to complete the editing was to flatten the image and save it as a TIFF or JPEG. The logs on the house appear in an accurate gray color, and the girl is wearing a white cap.

You can see the final result in the Schiele Backcountry Farm image gallery.

FG 149.9: The layer mask has been applied, placing the corrected widow area directly over the lower image. You can see the mask beside the yellow layer. The black area of the mask makes the corresponding area in the yellow layer invisible. The white area of the mask allows that part of the yellow layer to show through. The mask has no effect on the blue layer, so it renders normally, except where it is covered by the unmasked area of the yellow layer on top.

I took my time describing this process, in order to make it as clear as possible. That may imply that that creating a layer mask such as this is difficult or time consuming. That is not the case. It probably took me less than five minutes to export the two versions of the image and combine them in Photoshop.

What is truth?

Some people find the whole idea of photo manipulation to be controversial. A photo is supposed to represent truth. They feel any retouching beyond simple exposure correction is messing with the truth.

I understand how their point, but in reality, photo manipulation has existed as far back as civil war photographer Matthew Brady, and some of the best known film photographers routinely performed extensive darkroom corrections when making prints.

More importantly, my camera did not record an accurate rendition of the scene I saw when I took the photo. Because the human eye can process much more color information than a digital sensor, I didn’t see a blue cast inside the window. The girl’s clothing looked neutral.

So the camera actually lied when it tinted the mob cap aqua. And of course when I corrected the girls clothing in Lightroom, the outside of the house looked nothing like the actual scene. So manipulation proved to be the only way to make the photo adhere to the truth.

What type of manipulation you do and how much of it you apply to your own photos is something you will have to determine for yourself. As far as the mob cap in the window is concerned, I think my final image is the closest I could come to the truth.

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June 11, 2009 If you are in the market for a new dSLR, Sony is offering a tremendous bargain on a Alpha A350 package. Now through June 16, you can get a special A350 bundle from SonyStyle.

The package includes:

• Sony A350 14.2MP dSLR with Super Steady Shot and Live View
• DT-18-70 standard kit lens
• 55-200mm telephoto lens
• Vertical Grip VG-B30AM

The cost for all this goodness? How about $699.99 with free shipping?

That is a heck of a deal for a 14MP camera, two lenses and the optional vertical battery grip. This isn’t one of those bait and switch deals from sleazy ripoff artist you have never heard of. No rebates or tricks. This deal is for a new camera direct from Sony.

Yes, it is a closeout. The A350 is being phased out by the new A380. But the specs on the A380 aren’t that much better than the A350. The cameras share the same sensor and live view technology. The A380 offers a choice of SD card or Memory Stick, while the A350 uses Compact Flash cards. (I prefer that myself.) The A350 also has a longer life battery. And, at this writing you can’t get a vertical grip for the A380.

Undoubtedly, the A380 does offer some advantages over the older A350. The new camera is lighter and more compact, and the AF is supposed to be faster. Consider this. You can snap up the entire A350 bundle for $699.99, while the new A380 is priced at $849 with a single 18-55mm lens. Is the newer form factor, lighter weight and faster AF worth the extra cash you will have to plunk down to have the latest and greatest model? Or would you have to have the same basic camera, two lenses and a grip for about a third less than the cost of the A380 with one lens?

Click here to go to the SonyStyle page and see the details. Decide quickly. You’ve got until June 16..

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Sony rumors continue to fly. This time some one has revived tales of an A800.

Okay, here we go again. A site called PhotoRumors says that they have “received information” that Sony is prepping a dSLR model to be called the A800. We’ve heard rumors of an A800 before. In fact, so many sites confidently predicted Sony would announce the A800 at PMA last March, that Sony reps went on record saying there would be no new Sony dSLRs announced until sometime after the show. As months have passed with no announcement, the A800 rumors faded.

Now they are back again — with a vengeance. You can read the short A800 post at PhotoRumors yourself, but the high points are: 16.2MP, full-frame, 100-25400 ISO (!), A900 type optical view system with popup flash and the Sony Quick live-View System (!!), HD Video, 3.5 inch LCD (!), 1/500 flash sync, aluminum-magnesium body with dust and moisture seals, built-in GPS, built-in WiFi and more.

“…and if you order now, they will throw in the Brooklyn Bridge as well…”

Call me skeptical, but this has all the makings of a vaporware pipe-dream.

A good rumor needs to sound plausible. Taken on an individual basis, every one of the rumored features of the phantom A800 is technically possible. All of the elements on the list can be found on various dLSRs from Sony or other camera manufacturers. Finding them all in a single camera is another story. There are some high-end dSLRs that incorporate most of the items on the list, but none I know of that retail for less than $2500.

Therein lies the rub. Many people have suggested that the A800 will be positioned as a replacement for the A700. If the Alpha A800 actually included most of these features, it is unlikely Sony will bring it to market anywhere close to the A700 price range. The specs on this super camera are much closer to the A900 than the A700, which currently sells for $999 in body-only trim.

True, the A900 has that incredible 24mp sensor. I also suspect that if Sony did create a dSLR of this nature, the optical viewfinder wouldn’t be as good as the one in the A900. Fitting the Quick Live View system into the A300 series cameras required Sony to make some compromises with the optical viewfinder. I would assume Sony would need the same sort of compromises in this camera.

Even so, the A800 would steal much of the A900’s thunder, especially if it was priced at the mid-range point.

A $4000 dSLR for less than $1500? I’ll take two!

Actually, the proposed specs on this dSLR are very similar to those of the very highly regarded Nikon D3. Similar, except the D3 lacks video and a flip-out LCD. The D3’s LCD screen “is only” 3 inches, a half inch smaller than the published specs for the phantom A800.

That wouldn’t be a huge deal, but the Nikon D3 sells for way over $4000.00. Does anyone really belive that Sony will bring a D3 caliber camera to market at a A700 price? Let’s not forget that such a camera would do a very good job of cannibalizing sales of the A900.

I don’t doubt that sooner or later Sony will offer an A800 model. But if it has these specs, it won’t sell in the A700’s price range. So, either Sony is prepping a high-priced companion to the A900, or the reports are completely bogus.

Either way, that doesn’t offer us a moderately-priced replacement for the current A700. Unless you believe that Sony intends to release an entire new fleet in 2009: new A230, A330, A380, A500, A550, A800 cameras and upgrade the A700 in their spare time.

Ain’t gonna happen. Not this year. Not in this economy.

I want to be wrong about this. I want be able to snap up that incredible A800 for less than $1500. However, my gut tells me Sony wouldn’t offer a camera of this caliber for under two grand. Quite possibly it would list for much more.

Anyone care to convince me that I am wrong?

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What are Sony’s plans for the A500 series and when will it be available?

May 25, 2009 It appears the A230, A330 and A380 will not be the only new dSLRs in the Sony Alpha lineup. The website 1001 noisy cameras tipped me off to a screen-shot posted in the Dyxum forums. While registering their new camera at Sony-Style Canada, the poster noted that the drop down list for available cameras included choices for two mysterious models: A500 and A550.

This looks to be a genuine slip — there are no other details available. Naturally I am very curious to see what the A500 series will be like and when they will be available. At the same time, I don’t want to start rumors that could cause people to put off buying an Alpha dSLR because they are waiting “for something better.”

About ten years ago, I had a friend who wanted to buy an iMac. At the time, all iMacs had 15 inch screens. My fiend was ready to buy, but he heard rumors of a soon-to-be-released 17 inch iMac. So he waited. And waited. Every time he determined to go ahead a purchase the computer, he would hear a rumor about a new, better model. So he would put off his purchase. This indecision lasted over 18 months. I moved away and never heard from him again. I don’t know if he ever bought his computer.

The point is, rumors can cause people to hold off buying something while they wait for the “next best thing.” I hope my friend finally got the computer he wanted. Because he was always looking for something better, however, he went without the computer for a year and a half. He could have been enjoying the computer and expanding his skills during that time, but because he was always chasing rumors, he did without. The thing is, a computer with a 15 inch monitor trumps no computer at all.

This applies to cameras as well as computers, especially for someone wanting to move into their first dSLR. How many great pictures could you make in 18 months? How much sooner could you get up to speed on a digital SLR if you started 18 months sooner?

Of course there is no reason to think the A500 and A550 are 18 months away. The logical assumption is that someone at Sony Canada was readying the site for the release of the A500 series and made the changes live before the cameras were on the market. If that is true, we can assume the A500 and A500 will be announced very shortly.

There are another scenarios, however. Someone could have just made a mistake and typed 500 and 550 when it should have been another series of digits. Not likely, as they would have had to make same the mistake many times, because there are several versions listed with different kit lenses. Unlikely, but it has to be considered.

There is also a possibility that someone was simply experimenting with the database. I do quite a bit of web development work and I have seen database administrators make up fake data to fill in fields in the database. The fake info is just there to flesh out the database and see how it would work in actual production. It isn’t supposed appear in an actual live site, but sometimes these fake entries make into the wild.

That is exactly what happened several years ago when a computer science student was developing a database script for a class project. He must have been a photography enthusiast, because he made up some fake camera entries, including one for a 18 megapixel, Minolta Maxxum 9D dSLR.

It was just something the student created to flesh out the database, in order to test his script. It sounded logical. It was widely believed that Minolta would introduce a Maxxum 9D because that followed the usual naming convention for Minolta SLRs. They already had the 5D and 7D. History indicated the next camera in the series would be the 9D.

Minolta was undoubtedly working on a 9D model, but there is no reason to belive it would have had an 18mp sensor. The 5D and 7D were 6mp cameras and at the time anything over 10mp was unheard of.

The student published his code online so he could test his database script. Someone discovered the “evidence” of a 18mp Maxxum 9D. Word spread rapidly, and the Minolta faithful waited with baited breath for the official announcement of the 9D. It never came. Outside of Minolta’s laboratories, the Maxxum 9D never existed. Since Sony (who made sensors for Minolta) never released an 18mp sensor for dSLRs, it is highly unlikely Minolta was developing an 18mp Maxxum 9D. But there are those, who based on the imagination of a computer science student, still believe that Minolta was ready to unleash an 18mp super camera just before the company closed the doors on its photo operations.

Having said all that. I believe Sony does have A500 and A550 models in the works. I expect to see them announced very soon, yet I wouldn’t bet the farm they will be out this summer. When you will be able to actually order an A550 and what features it will have is anybodies guess. It won’t be real until Sony says its real.

If you are considering buying a current Sony Alpha, but are holding off because you are afraid of missing out on something better, I suggest you go ahead and buy now. It is possible the A500 series will be announced in the next few days. On the other hand, you could be like my friend, forever waiting for a new product announcement that never comes.

You will probably be much happier getting an actual dSLR you can use now, rather than waiting on a phantom camera whose features and shipping date are completely unknown. It’s awfully hard to take great pictures without a camera!

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Brand New HVL-F20AM flash unit will appeal to Sony Alpha users on a budget, as well as A900 shooters

May 20, 2009 Besides three new dSLRs, Sony has also announced a new low-cost flash unit. Details of the new flash are somewhat sketchy, but the first units should ship in June. Known as the HVL-F20AM, the flash will have a Guide Number of 20 and carry a list price of $130.

While the GN of 20 isn’t particularly powerful, it is double the power of the built in flash on the new A230, A330, A380. More importantly, it offers bounce capabilities, something lacking in the built-in flash. While it doesn’t appear that the new flash can itself be triggered wirelessly (at least not by the Sony wireless system), with an optional sync cord and adapter from Sony this flash could be used off-camera in a wired mode..

With the low price and light weight, it is natural to assume this flash is targeted at first time dSLR shooters. While that is true in part, the F20 should be very appealing to owners of the top-of-the-line A900 as well. As I outlined a few months ago, the A900 doesn’t have a built-in flash, making the A900 the only Sony Alpha that cannot trigger the Sony wireless system out of the box. Until now, the only way the A900 could fire a Sony wireless flash unit is by attaching a HVL-F58AM flash to the hot shoe. The F58AM was the only flash capable of acting as a controller. The rest of the flash units in the Sony stable (F36, F42 and F56) can not be used to trigger other flash units. So A900 users had to buy the high-dollar F58 flash if they wanted a wireless flash trigger.

In my earlier post, I suggested Sony might offer a lower cost method of triggering the Wireless Flash System. Enter the HVL-F20AM.

Like the F58AM, the new flash can trigger other external flashes in the Sony system. This is great news for A900 owners, who can now use wireless flash units without dedicating a very expensive HVL-F58AM to the role of mere flash trigger.

Details are somewhat limited, but Sony has emphasized that the F20AM will only work as a trigger with the A900. Apparently there is circuitry in the A900 that is absent in the rest of the Sony Alpha line.

Some people have expressed disappointment over this, but I don’t really understand why. All of the Alpha dSLRs, with the exception of the A900, already have the ability to trigger the Sony Wireless Flash System. I guess the greater guide number might give the F20 a slightly greater wireless range than the built-in flash units, but that is a pretty weak argument. (no pun intended!)

Here is what the Sony press release has to say:

Wireless flash trigger function (DSLR-A900 only)
When teamed with the a900, the HVL-F20AM can also be used to trigger wireless flash setups. Please note, however, that this functionality is only available with DSLR-A900, and does not include luminosity ratio control.

So no ratio control, which I didn’t expect in a basic, low-cost flash/wireless trigger.

Lowering the HVL-F20AM (left) turns the unit off. Raising the flash to full height powers it on.

That the new flash is fairly basic is indicated by another section of the Sony release:

Unlike most external flash units, the HVL-F20AM has no dedicated On/Off switch. Instead, power is automatically switched on simply by raising the flash unit into the shooting position…The new design also eliminates the LCD display panel found on many conventional flash units, further contributing to easy-use simplicity and stylish design.

Classic marketing — remove the LCD panel and call it a feature.

Obviously there are no adjustable power settings. It is a bare-bones flash, but it is a dedicated Sony flash offering both ADI and TTL flash metering. When you add the ability to swivel the flash head to use bounce lighting, this is a nice addition to the Sony flash line-up, especially when you consider the suggested list price.

I read somewhere that the new flash will be powered by two AA batteries, but I cannot confirm this. All of the other flashes offered by Sony use four AAs for power.

Most Alphatracks readers are in the advanced amateur category, and these shooters might be better served with one of the more feature-rich Sony flash heads that feature a higher guide number and can be fired wireless off-the-camera. For those moving up to a dSLR from a P&S camera or A900 owners looking for a way to trigger their external flash units wirelessly, the HVL-F20AM should be a very attractive addition to the Sony flash inventory.

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New A380 and A330 retain the tilt-out LCD used in earlier Alpha dSLRs, but the range of motion has been increased.

May 18, 2009 Sony has officially announced three new dSLRs, the seventh, eighth and ninth cameras in the Alpha lineup. The new models will be known as the A230, A330 and A380. Although some may see them as updates to the current A200, A300 and A350, the new dSLRs go far beyond a mere reworking of existing units. While the sensors are similar, the body and controls are completely new, setting the new trio apart from previous Sony Alphas.

Look ma, I have an Auto-focus motor!

I am very happy to report that the speculation that the new Alpha models would jettison the in-body auto focus motor is false. All three dSLRs have an in-body auto focus motor, making them fully compatible with older Minolta and Sony A-Mount lenses. There was speculation Sony might have removed the body AF motor for weight and size considerations. The upshot is the A230, A330 and A380 should be filly compatible with the complete range of A-mount lenses.

One other major rumor about the new cameras suggested that Sony would drop the Compact Flash Slot in favor of smaller SD and Memory Stick slots. This time, the speculation was spot on, as the new cameras feature slots for both a SD card and a Memory Stick Duo. These will be the first Sony Alphas that cannot use CF cards.

After reflecting on Sony’s target market for these cameras, I am much more accepting of the SD/MS memory cards. Sony is clearly aiming these cameras at people moving up from Point & Shoot cameras. These users may have a collection of SD and/or Memory Stick cards that saw use in their older P&S digital cameras. They can reformat them and use them in the new Alpha dSLRs, reducing the cost of entry.

Unlike the CF and Memory Stick slots in the A700, which can both be used at once, users will need to choose which card slot will be active. If the SD slot is live, the MS slot will be unusable. If the user shifts to the MS slot, the SD port will become inactive.

Vastly improved LCD display offers graphical representations of exposure settings as well as an onboard user manual.

If there was any doubt that Sony is targeting first time dSLR users with the new cameras, all you have to do is look at the new graphical menu interface. In addition to graphs that help explain the relation of various settings to each other, there is an on-board manual that can be read on the LCD screen. This is a great feature that should enhance the appeal of the cameras to those just dipping their feet in the dLSR pool.

Although the three cameras correspond neatly to the earlier models (A230 to A200, A330 to A300 and A380 to A350) the bodies are physically different. The most obvious difference is the smaller grip, which contains a new battery. Actually, it isn’t completely new, as it is the same NP-F50AM battery used in certain Sony CyberShot models. The new battery is ony rated at 510 images per charge, while older NP-F500 used in the current Alphas can reel off 750 frames before recharging.

That is a minor drawback, but 510 images is more than most users will shoot in a single day.

Where is the vertical grip?

One thing I haven’t seen anyone comment on is Sony’s silence about a vertical grip for the new cameras. Since there is a new battery, I doubt that the new cameras will accept the older VG-B30AM vertical grip.

There is no mention of a grip in the Sony press release, nor are the new cameras pictured with a grip. When the A300 and A350 were announced, the pre-relese photos showed them attached to the optional grip.

Sony may have a grip in the works for the new cameras, or they may feel that the target market isn’t interested in a vertical grip. On the other hand, Minolta didn’t think users would be interested in a VG for the Maxxum 5D. The 5D begat th Sony A100 — which also did not have factory VG.

The demand for grips to fit the 5D and the A100 shows that both Minolta and Sony erred by not offering a grip for these cameras. At the time, the posts I wrote about aftermarket and DIY grips for the A100 were extremely popular. Even now, with both cameras long out of production, my server logs still show I get several visits a week to the pages about the 5D/A100 grips.

There is lots more news, including the welcome addition of a new inexpensive flash unit that can also serve as a flash controller on the Sony A900. I will look more deeply into that next time.

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May 9, 2009: The rumors of new dSLR’s from Sony continue to swirl about the internet. Many people expected something at the PMA show in February, but a Sony official was quoted as saying no dSLRs would be released until after PMA — fueling speculation that new models would be coming soon after that.

There are several sources speculating that new models would be known as the A230, A330 and A380. There is yet another rumor of an A800. I have heard talk of other models, but I don’t want encourage rumors of cameras that may not be available for months or even years from now — if at all.

It does appear, however, that new models in the A300 and A200 line may soon be introduced. David Kilpatrick of PhotoClub Alpha (in the UK) has some screen captures from a SonyStyle site that contain photos of some of future Alpha dSLRs. These appear to indeed be the A380, A330 and A230.

You can read David’s musing on the PhotoClub Alpha site.

So what can we expect from these new dSLRs? Until now, all the Sony Alpha dSLRS carried names that fit neatly into an even 100 digits: A100, A200, A300, A700, A900. The only exception is the A350, which is more or less an A300 with a denser, 14mp sensor.

Since the new models carry names like 330 and 380, it appears the new cameras may be variants of the existing A300 and A350. If the photos are accurate, however, the new models appear to have newer, smaller bodies.

So other than the bodies, what will the new dSLR’s offer?

Sony hasn’t yet revealed the specs on the new models, so everything said here is pure conjecture.

Several people have suggested that Sony may remove the AF motor from the new bodies. This is bolstered by the recently announced Sony lenses. The new lenses overlap existing glass in the Sony catalog. There doesn’t seem to be a need for the new lenses, unless they have internal motors. These motors could handle the autofocus duties on cameras that lack their own AF motor.

This could produce lighter, more compact camera bodies. That is all well an good, but it breaks compatibility with older glass. Until now, you could use almost any A-Mount lens on any Sony Alpha. Minolta A-Mount lenses. Aftermarket (Tamron, Sigma, etc.) A-Mount lenses. And of course all the existing Sony A-Mount glass.

If the rumor is true, most of these older lenses will not offer full compatibility with the new bodies. I assume you should be able to attach the lenses and shoot using manual focus. Only the handful of older lenses that include internal focusing motors will actually offer auto focus ability on the new cameras.

Which is more important: lens compatibility or overall weight?

If this is true, I will be a little disappointed with the new models. In the first place, I don’t really like overly-light cameras. Heavy cameras dampen vibration and feel more solid to me. My all time favorite film SLR was the incredible XK-Motor. The camera itself was as heavy as a tank, and that was before you bolted on the battery pack that held ten AA batteries. As heavy as it was, the XK-M was so well balanced that felt and handled beautifully.

I do have a lot of experience in backpacking, and I understand the importance of eliminating extra weight. But if I have the choice between maximum lens compatibility and a smaller, lighter body, I would choose lens compatibility every time.

Kilpatrick also speculates the new bodies may abandon Compact Flash cards. Once again, I hope this isn’t so. Sony has only recently started selling their own line of CF cards. I prefer having a single card type that I can exchange between cameras. If the new digi-SLRs don’t accept CF cards, it will break compatibility with many of the older models. If the new cameras use SD cards, there will be no memory card compatibility with any current Sony Alpha. This might not be a problem if you only shoot with one camera. If you use multiple bodies, however, it will be pain to keep different memory cards for different bodies.

Different strokes for different folks, and Sony may have found that there is a considerable market for smaller, lighter bodies. Considering the limited amount of available lenses, I wouldn’t think the lower weight and smaller size would be worth the trade off. In my opinion, one of the best features of the Alpha is the huge array of Minolta A-mount lenses. Take away the ability to use those lenses and what do you have?

When will Sony offer a dSLR with video capabilities?

The other question is whether any of the new dSLRs will offer video. I’m not all that hungry for video myself, but with both Canon and Nikon offering dSLRs that have video modes, I find it puzzling that Sony isn’t stepping up to compete in the video/dSLR segment.

After all, Sony is a huge player in the camcorder market. The last I heard Sony was a close second to Canon in camcorder sales. So I would expect Sony to enter into the fledgling dSLR with video market with both feet.

Rumors — and remember these are only rumors — say the new Alpha dSLRs will not contain a video mode.

If this is true, I won’t be heart broken, but I want the Alpha to be competitive on all fronts. If the market is moving to onboard video on dSLRs, I want Sony to offer a video dSLR. This has nothing to do with being a Sony “fan.” The stronger the Alpha line becomes, the more aftermarket support we will see. It will also encourage Sony to release new and improved Alpha products.

Then again, it wouldn’t put it past Sony to abruptly release a new model that no one is expecting. After the release of the A700, everyone was expecting the A900 to be the next Sony dSLR. Without warning, Sony suddenly replaced the A100 with the A200. Only about a month later, the A300 and A350 were announced.

So until Sony clarifies the situation, this is all speculation. There is also no indication of when the new cameras will be on the market. The important thing is the Sony Alpha market is continuing to grow. Even if I don’t want to see a video-free dSLR without onboard internal focus motors and no CF slot, that doesn’t mean there isn’t a market for such an animal.

I sure hope folks at Sony has done their homework.

So what is your take on the future the Sony Alpha? Is there room for SD cards and bodies stripped of AF motors? Should Sony add a video mode? What say you?

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This aluminum adapter converts a M42 screw mount lens into a A-mount lens.

May 4, 2009 A few weeks ago, I discussed using an M42 lens with the Sony Alpha. The way you pull this off is with a M42 to A-mount adapter.

The adapter is nothing more than a thin piece of metal with a Sony/Minolta A-mount bayonet fitting and a threaded opening for a M42 lens. The term M42 represents 42mm — the diameter of the threaded lens mount. There are other similar lenses, including M39 and M40 diameter lenses. The M42 mount is the most popular of the”M” mounts, especially when it comes to lenses designed to fit a 35mm SLR.

M42 adapter has an A-mount bayonet on one side and a threaded opening that accepts a 42mm screw in the center.

There is one other screw-mount lens you need to be aware of: the T-Mount. I’m not sure why there was a need for the T-mount, because the screw threads on the T-Mount are also 42mm in diameter. The difference is the thread pitch: the M42 lens uses 1 thread per mm, while the T-Mount uses a slightly coarser 0.75 thread per mm. This is important, because the M42 and T-mount look extremely similar. but they are not interchangeable. You can screw either lens into a M42 adapter, but only the M42 lens will thread fully home. If you try to thread a T-mount lens into an M42 adapter, it will seize up before the lens flange seats properly. The same is true if you try to install a M42 lens on a T-mount adapter.

I’m spending a lot of time on the M42 and T-mount lenses, because most lenses of this type do not have any markings indicating the mount type. You really need to use caution when buying a used screw mount lens. In many cases you will find T-mount lenses advertised as M42, and M42 lens sold as T-mount. There are both M42 and T-mount adapters available for the Sony Alpha, but it is important to know what type of 42mm diameter screw lens you are buying. If your screw mount lens doesn’t thread into the adapter smoothly, do not force it. Mixing lenses and adapters can result in damage to either the lens or the adapter.

Now that we’ve established what an M42 adapter is, lets look at why you would want to use an adapter in the first place.

You can see the 42mm thread on this Vivitar lens. Note the switch next to the red M. Not all M42 lens have this switch. This Vivitar can be switched into a auto mode when used on auto diaphragm cameras like the pre-bayonet Pentax film SLRs. To use the lens on a Sony Alpha adapter, it needs to be switched into the manual (M) mode.

The fact is there are millions of optically excellent M42 lenses available, many at ridiculously low prices. Carl Zeiss actually produced the first M42 lenses in 1938. The mount was used by Practica and became the standard Pentax 35mm lens mount until Pentax switched to a bayonet mount the mid ’70s. Today, Carl Zeiss continues to produce new M42 lenses under the ZS model name. These are manual focus lenses and other than Zeiss quality, have little in common with the AF Zeiss lenses sold by Sony.

The Russian Zenit line produced M42 lenses quite recently. They may or may not be still manufacturing M42 lenses and cameras. In addition, there are countless used M42 mount lens available on ebay, pawn shops, used camera dealers, garage sales and the like.

While M42 lenses are plentiful, there are good reasons you can buy them so inexpensively. As a universal style lens, initially designed over seventy years ago, these lenses are devoid of may of the innovations modern photographers take for granted.

Here is a partial list:

• No Autofocus
• No Automatic diaphragm
• You need to use manual exposure on the A200, A300 and A350
• Image stabilization does not work

M42 lenses don’t offer auto focus

The lack of auto focusing doesn’t bother me very much. After years of shooting action sports with manual focus cameras, I am somewhat uncomfortable turning over the focusing duties to a silicon chip. That doesn’t mean I don’t appreciate auto focus; but its absence isn’t a deal beaker to me.

Adapters cannot provide automatic diaphragm connections

Not having an automatic diaphragm is more troubling. On the other hand, I am using my M42 lens when I want a fast telephoto. This means when I use this lens, I am nearly always shooting wide open. This negates any concern about the auto diaphragm, since the lens is usually open to the maximum aperture.

The result is the M42 lens becomes a special purpose lens to be used only in low light. If conditions are such that I can shoot at f/4 or higher, I switch to one of my A-mount, auto focus telephotos.

Manual exposure is required with M42 adapters on the A200, A300 and A350

The Alpha A200, A300 and A350 cannot use a lens adapter in the automatic mode. The camera will not not recognize that there is a lens attached, and will not fire the shutter in the auto mode. The only way to use an ordinary adapter on these cameras in the manual mode.

Most of the Minolta Maxxums and other models of the Sony Alpha can use adapters in the aperture priority mode. Different cameras use different methods to allow you to use an adapter in the auto mode. Consult the owners manual if you are unsure of the procedure for your camera.

Shooting with manual exposure outdoors can be a pain, especially if the light is shifty. Since I am using the M42 lens to shoot under fairly constant indoor lighting conditions, this isn’t a real problem either. I shoot a couple of frames and use the LCD to make sure the exposure looks good. Since I’m shooting in a sports arena, the light is not likely to change during a game. So once I have a good exposure on the LCD, I can shoot the rest of the day without changing anything.

Hey I thought in-body stabilization works with all lenses…

Some of you might be wondering about the lack of image stabilization. The whole premise of the Sony in-camera anti-shake system is that it works with any lens right? Well not exactly.

Because the system is built into the camera, technically it should work on any lens you attach to the camera. However, in order to maximize effectiveness, the Steady Shot system needs to know the focal length of the lens. Without this knowledge, the camera doesn’t know how much IS to apply. This isn’t a problem with Sony, Minolta and aftermarket A-mount lenses. These lenses have electrical contacts that let the camera know the focal length of the lens.

There is no way for the Sony Alpha to “read” the focal length of a M42 lens. Since the camera cannot identify the focal length of a M42 lens, SSS can’t operate.

Upgrade to a chipped adapter for SSS and aperture priority exposure

If you are willing to spend a little more money, you can have IS and aperture priority auto exposure. There are M42 adapters that include a “focus confirmation” chip. These adapters attempt to fool the camera into thinking there is a real Sony A-mount AF lens installed.

M42 lens (top) pictured with a T-Mount lens. You can see the threaded portions look very similar, but they are not the same. Make sure you know what type of mount your screw mount lens actually has.

Naturally, you won’t actually have AF, and you still won’t have an automatic diaphragm. Your camera will let you use Aperture Priority automatic exposure, so you can select the aperture and the camera will select an appropriate shutter speed. You cannot use shutter priority, since the Alpha series has no communication with a M42 lens, so it cannot adjust the aperture.

A focus confirmation chip will also return Super Steady Shot functionality, because the camera now knows the focal length of the lens…at least it thinks it does.

The confirmation chip works by convincing the camera that there is a real Sony lens attached. The camera reads the information from the chip and uses that data to determine how to react.

This means you can’t use just any chipped adapter with any particular lens. If the chip in the adapter tells the camera there is a 50mm f/1.7 lens attached and you actually are using a 400mm f/8 lens, Image Stabilization will be less then optimal. In short, you have to match the chipped adapter to the focal length and f/stop of the lens. You can use a plain, non-chipped adapter with any M42 lens, but if you want IS, you will need an adapter matched to your lens.

There are a couple of other things to watch out for. Although a well made Sony M42 adapter should be capable of focusing to infinity, some of the cheaper models are slightly too thick. Even a few thousands of an inch of extra thickness will move the lens too far away from the focal plane, so you cannot achieve infinity focus. I haven’t encountered that problem, but over on the Flickr forums Arkku has set up a nice demonstration of the problem. Arkku solved the thickness problem by sanding the adapter until it brought the lens close enough to the sensor to focus at infinity.

Here a T-Mount lens is threaded as far as it will go into a M42 adapter. Note how much space there is between the lens flange and the adapter. Attempting to thread the lens further onto the adapter would likely result in damage to the lens, the adapter or both. Because the lens doesn’t meet the adapter, this setup will not focus properly.

The second problem involves some poorly made adapters that can jam onto the camera’s lens mount. David Kilpatrick of Photoclub Alpha encountered this problem on an A700 and had to resort to a pipe wrench (gulp!) to remove the adapter. In one of the Sony Alpha foruns on Flickr, another reader reported his adapter had become jammed.

I have had no problem with my no-name aluminum adapter, which I originally bought from a Singapore vendor off ebay. I would use care using the adapter for the first time, until you are confident it won’t jam. If the adapter doesn’t attach the camera easily and smoothly, I wouldn’t use it. The older Amount dSLRs (Sony A100, Minolta 5d, 7D have slightly different lens mount. Sony beefed the mount up on the A700, A200 A300, A350 and the A900, so even if you have an adapter that works OK on the A100, you still need to ensure it works on later Sony dSLRs.

There are a world of inexpensive, high quality M42 optics available if you are willing to forgo auto-focus, auto diaphragm and other niceties.

There is one other thing to consider if you decide to go the M42 route. If you make a real effort to master using M42 glass on a dSLR, you will undoubtedly become a much better photographer. If you can wring out the best from a screw mount lens, you will find you are a better shooter no matter which lens is on your camera. Since you cannot simply put the camera on full automatic when dealing with a M42 lens, you are forced to think carefully about how to use the lens. The result is that you will be far more comfortable and knowledgeable about your camera and all your lenses

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Now is a great time to add to your memory card collection. Prices have been falling steadily for the last year, and you can snatch up some very large Compact Flash cards for not a lot of money.

Case in point, Office Depot is offering the SanDisk Ultra II 8GB Compact Flash card for $29.99. No rebates or trickery, just show up and pick the card off the shelf.

Since Summer is coming up, I took advantage of the deal and scored an 8GB card for $31 and change with tax.

I can’t guarantee that all Office Depot locations have the card at this price, but I can tell you that the stores in the Charlotte, NC area are advertising the cards at $29.99 through 4/4/2009. I believe you can also buy the card online as well.

There is a trick to finding the card at this price online. When I searched for Compact Flash cards on the Office Depot website, the Ultra II card did not show up. To actually find the card on the site, I had to open the weekly sales flyer from the Office Depot homepage. The flyer is interactive and the card is shown on page 4. Clicking on the card in the online flyer opens the order page on the Office Depot site.

I had to input my Zip code to see the flyer for my area. If the flyer for your Zip code doesn’t list the card for $29.99, use Zip code 28056.

It’s true this is the Ultra model card, which lacks the performance of the Extreme III cards from SanDisk. From my experience, however, the Ultra cards work very well in the Sony Alpha A350/A300 models. Perhaps the Extreme cards might provide an advantage with the faster continuous rate of the A700 and A900. Even with these cameras, the Ultra cards are more than adequate for most types of shooting.

8GB will store a lot of images, and I wanted a another good size card as a backup, and I felt I couldn’t go very wrong buying a SanDisk card at this price

If you are williing to to forgo instant gratification, MeritlineOnline has the Kingston 16GB Elite Pro 133X Compact Flash for about the same price. Currently they will sell you the Kingston card for $30.99.

I’ve never used a Kingston CF card, so I can’t vouch for how well they work in the Sony Alpha. I have had very good results with Kingston RAM memory and PCI cards in various computers, so I have an overall high opinion of Kingston products.

I have also ordered various gadgets from Meritline in the past. My experience with Merritline has been quite positive. So I wouldn’t hesitate to take advantage of this deal either. Especially since MeritLine is offering free standard shipping. There is no indication of how long this price will last, so if you want one, I would act now.

If any Alphatracks readers have experience using Kingston Compact Flash cards (especially the 16GB one) in the Sony Alpha or Minolta Maxxum dSLRs, why not leave a comment with your opinion.

With the price of nearly everything else going up, it is nice to see Compact Flash memory coming down in price. Only a short time ago, a 16GB card would sell for well over $100.00. With this deal, you can have one shipped to you for 31 bucks.

Time to add to your Compact Flash collection!

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March 4, 2009: Yesterday Sony has just announced six new optics to the Alpha dSLR lens lineup. They are:

• Super Telephoto Lens

• DT 50mm F1.8
• DT 30mm F2.8 Macro
• DT 18-55mm F3.5-5.6
• DT 55-200mm F4-5.6
• 28-75mm F2.8

No word on pricing or when they will be available, but Sony says they are coming.

I find it interesting that four of the six lenses are DT lenses, intended for APS-C sensors. These lenses will not cover a full-frame sensor like the one in the A900. Sony hasn’t promised any further full-frame dSLRs, but as sensor technology evolves, full frame dSLR cameras are becoming more and more common.

I have to assume that Sony will offer more full-frame dSLRs, but based on these new lens offerings, it appears that at least some of the future Alpha lineup will feature APS-C sensors. Why introduce new DT lenses unless you intend to offer further APS-C cameras?

This is significant, when you consider that The A200, A300 and A350 were announced twelve months ago and the A700 is nearly 18 months old. On average, dSLR models are refreshed or replaced every 18 months. That means that at least some of the APS Alphas are due for replacement or a major update in the next year.

You don’t introduce four brand new DT lenses unless you intend to continue selling APS dSLRs. So I expect that Sony has some more APS-C dSLRs up its sleeve.

At the same time, I wonder about the wisdom of buying into these new lenses. If you expect to move into a full-frame dSLR at some point, these aren’t the lenses to buy for the long haul. You can use DT lenses on the A900, but not at full resolution. Basically a DT lens will turn the full-frame camera back into a crop camera, at reduced resolution.

On the other hand, you can use a full frame lens on a crop camera without a hitch. I think I would prefer to buy full-frame lenses so they could be used with either format.

Of course Sony hasn’t given us an indication of the price of the new lenses. Possibly Sony will bring the DT lenses in at an attractive price level. We will need to wait and see.

I also wonder where the new 18-55mm lens fits into the lineup. The standard kit lens has been the 18-70mm zoom. Unless the 18-55 offers a significant improvement over the 18-70mm, I don’t see any reason to introduce a new lens in this focal range. When you already have a solid 18-70mm lens, why replace it with one that lacks 15mm in the telephoto range?

If it is not a replacement, who will buy this lens if the 18-70 is still in the catalog? If the new lens was significantly faster or offered macro capabilities, perhaps I could see its value. As it is, unless it offers superior sharpness or better auto focusing, I don’t understand this lens’ purpose at all.

Also somewhat puzzling is the announced DT 55-200mm F4-5.6 lens. Sony already offers a lens of this exact speed and focal length. Perhaps the new model will offer improvements not available in the current 55-200mm zoom. Still, you would think that Sony would concentrate on filling out its lens line with optics that are not available, rather than replacing one 55-200mm with another.

Sony is also offering a new 50mm f1.8 DT lens. It will obviously be priced lower than the existing f1.4 50mm, but it is a DT lens. I think the old Minolta f1.7 50mm, which will cover a full frame sensor, might offer a better value equation, unless the new Sony comes in at a very attractive price. It will be interesting to see how the new lens affects the pricing of used Minolta 50mm f1.7 lenses, which have steadily increased in value as the Sony Alpha line has expanded.

Some people are already wondering aloud about the 30mm f/2.8 macro, but to me this makes perfect sense. Remember it is a DT lens, so it isn’t really a wide angle macro, as some have suggested. On a APS-C sensor, it will offer the equivalent of a 45mm macro. Since Minolta sold truckloads of 50mm macro lenses, I would guess there is a place for this lens in the Alpha lineup.

That leaves the mystery “super telephoto.” I take the term “super” with a grain of salt. Not that I don’t expect it to be a good lens. It has the appearance of the highly regarded G lenses, so I expect this will be a G lens as well.

Sony has gotten into the habit of calling any lens greater than 300mm a super telephoto. If you look through the Sony lens catalog, most of the G lenses as well as the 500 mirror are listed as super teles. So super doesn’t indicate this is an extraordinary lens — it simply means the lens is probably greater than 300mm.

The mystery lens does have a tripod collar, so I assume it will be fairly heavy or fairly long; or both. The recently introduced 70-400 G lens does not have a collar, so I am banking to this lens being faster or heavier.

If looks are any indication, it will be a fast lens — but what focal length? There is no indication whether it is a zoom or a fixed focal length lens. It appears to be finished in silver, like the other recent Sony G lenses.

About the only thing we can say for sure, it that it will probably be excellent. And expensive!

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