Archive for the 'Photography' Category

Sony announces new Alpha Flash — can the flagship be far behind?

Friday, June 20th, 2008

Sony has just announced their “flagship flash unit” the HLV-F58AM. You can’t buy yet, but it will be on dealer shelves in September.

We knew it was coming, but details were rather sparse. Now we know the new flash unit will have a guide number of 58 (when the head is zoomed out to 105mm).

Sony announces flagship flash unit

Sony says the new HLV-F58AM will arrive in September.

Speaking of the zoom flash head, the new flash knows whether it is illuminating a full frame sensor (think Alpha A900) or a APS-C size sensor and will zoom accordingly.

The big display on the back looks easy to read, and there is a mini joy stick controller to change settings. Naturally it offers TTL, HSS and ADI, as well as manual settings. Sony says the High Speed Sync on the HLV-F58AM can use shutter speed os /500 to 1/4000 second.

The HLV-F58AM features Sony’s new quick shift bounce feature, which allows the entire body of the flash to orbit like a fan to the left and right, in addition to the usual bounce and swivel capabilities.

The flash also includes a modeling light and a stroboscopic setting that will fire multiple times during an exposure, creating an in-camera multiple exposure of moving subjects.

Sony also claims the new unit will recharge 55% more quickly than the older HLV-F56AM. There is also a claim that the electronic whine has been done away with. Sony apparently thinks that is a good thing, but I always relied on that high-pitched whine to know my flash was charging properly. I guess I will get used to it, but to me, that whine was a feature, not a bug!

Like all Sony flashes the HLV-F58AM supports wireless flash — and apparently it can serve as a controller as well as a slave. (More on that next time.)

Sony announces flagship flash unit

Like the dSLRs it will be matched with, the new flash will have a large, easy to read LCD and a joy stick controller

Finally, Sony has also announced the price. Earlier this week I brought you news that the price of the older HLV-F36AM flash unit dropped to $199. Sony gives and takes it seems. The new flagship flash will be priced at $500 — not outrageous for a flash with all these capabilities — but much higher than the HLV-F56AM.

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Sony slashes HLV-F36AM flash price by $100

Monday, June 16th, 2008

I just noticed that Sony has sliced $100 off the list price of the HVL-F36AM flash unit over at Sony Style. The F36AM has carried a list price of $299, ever since Sony acquired Minolta’s assets and re-badged the Minolta 3600HS(D) as the Alpha HLV F36AM.

Today, the Sony Style page has a line through the $299 price and a $199 price tag appears next to it. Sony has not said this is a permanent price reduction, but it look like it might be. Considering the recently introduced HLV-42AM is equal or better than the F36AM in almost every category, and that the F42AM also carries a $299 price tag, Sony couldn’t have been selling many F36AM units. Who would buy the F36AM when they could buy the F42AM for the same price?

Besides the difference in guide numbers, (36 of the old flash, 42 for the new) the F42AM has a greater zoom range, swivels 180 degrees and offers white balance assist. Even more importantly, the F42AM offers manual control, while the F36AM can only be controlled by the camera. With all the extras the F42AM offers, the F36AM was really starting to look over priced. Knocking A hundred bucks off makes it start to look much more attractive.

Naturally, I would prefer the extra swivel and the manual control of the F42AM, especially if it was my primary flash unit. But the lower price of the F36AM is good news for any Alpha dSLR shooter.

The F36AM is compatible with the F42AM and F56AM wireless flash units, so if you are trying to assemble a multiple wireless flash set up, the cost of entry just got less expensive. You could pair a couple of F36AM with a F42Am or F56AM main units and have a very nice wireless setup. Neither the F36AM or the F42AM can be used to control a wireless setup, so you would need to either use the camera’s built in flash or use a F56AM as a master.

The lower price of the F36AM is also a bonus to Alpha shooters who want an external flash but just couldn’t justify laying out $300 for the privilege. All of a sudden, it is possible to buy a Sony brand flash for less than $200.

I would want the manual and swivel features that come with the F42AM. Still, for those just starting out, the F36AM does provide many good features. The head doesn’t swivel, but is does pivot so you can use bounce flash. It features ADI, so a Sony Alpha dSLR can control it from the hot shoe. It also has autofocus assist lamp, enhancing focusing in dim light. And if you purchase the FA-CS1AM flash shoe from Sony, you can add a cable socket to the F36AM, giving you off camera flash capability.

This fills a big hole in the Sony flash lineup, especially for those just starting out. You either had to spend a princely sum on a Sony branded flash, or try to cobble up something off ebay that you hoped would work with the Sony/Minolta hot shoe.

If Sony extend the price cuts to dealers, many of which discount equipment below the suggested list price, you may be able to pick up a Sony brand ADI flash for well under $200.

I like it.

Sony Alpha A350 ships — Adobe pulls ACR update

Wednesday, March 26th, 2008

Sony has started shipping the Alpha A350. I took delivery of one of the big orange boxes last week and have started putting the A350 through it’s paces. So far, I am fairly pleased with the 14m dSLR — I will post a review with samples shortly.

I had hoped to update my copy of Adobe Lightroom to version 1.4, which is required to read the RAW files from the Sony Alpha A350, A300 and the A200 as well as several other new cameras. Unfortunately, Adobe posted the update for only a few hours. If you click on the link to update to 1.4, you get the message:

The Lightroom 1.4 update has been temporarily removed from the Adobe.com web site in order to allow time for additional investigation into several bugs that were discovered after the update was released.

Adobe hasn’t said when the revised 1.4 updater will be available, but until they get their act together, I won’t be able to process my A350 RAW files in Lightroom. This limitation also applies to Adobe Camera Raw, meaning at this point there is no way to edit A350 RAW files with an Adobe product.

New tilt live view

Sony has started shipping the A350 model, with the similar A300 to come shortly. Don’t expect to edit RAW files in Lightroom/ACR until Adobe perfects the latest update to ACR.

My fall back has been Sony’s Image Data Converter and Lightbox SR which shipped with the A350. The two programs do a credible job, but I know exactly what to expect from LR. It will take some time to become comfortable with editing in with the Sony software. In addition, the Sony software does not recognize my older Minolta RAW files, so I require two different sets of software to work with my image collection. Grrr. I hope Adobe fixes the bugs in 1.4 soon.

Of course there is another solution: Apples’ Aperture. Frequent Alphatracks contributor Bert Pasquale has been playing with Aperture 2.0 and he seems more than happy with it. He writes:

Apple released a RAW Compatibility update, adding new RAW conversion support into Aperture 2.0 & iPhoto ‘08 for the new Sony DSLRs. The update includes new support for several manufactures. (If you’re using a $25k Hasselblad, you’ve also been given the keys to the Apple workflow!)

The interesting thing is, this is the first time Apple has released RAW processing updates apart from a system update. This is very significant, as it answers the question of how quickly Apple can support new cameras: “Whenever they want” - potentially even before a new model hits the street. If so, Apple could finally make good on their 2006 “Mac Guy” ad of instant Mac-Camera hand-in-hand coziness and language fluidity.

Also note that the Flash Gallery Exporter Plug-in has been recently updated with new gallery codes and is compatible with AP2 and iPhoto ‘08. I am currently using it to upload model portfolio shoot proofs of 7D/A100/A700 RAW files I’ve been re-processing with better results in AP2.

Sincerely,

- Bert Pasquale

Let me think about this. Aperture and iPhoto are more or less niche products in Apple’s product line. They help with the bottom line, of course, but they are far from Apple’s main bread and butter. On the other hand, Photoshop is Adobe’s crown jewel. They make a lot of cash from other sources, but Photoshop is their premier product.

So how is it that Apple appears to effortlessly produce an update that supports the latest cameras well in advance of their release date, while Adobe’s can’t ship it’s famed Camera Raw software until after the new models hit the street? For that matter, why did Adobe release an ACR/Lightroom update that was so filled with bugs that almost a week afterwards they still haven’t been able to fix it?

Sony Alpha electronic flash mystery: new flash soon?

Friday, March 21st, 2008

Last week, reader Tony Bombardo contacted me regarding Sony’s high-end electronic flash unit, the HVL-F56AM. Or should I say former high-end flash unit…as of this writing the HVL-F56AM is missing in action at the Sony Style website. Under flashes and lights, you find the HVL-F36AM and the new HVL-F42AM units, but the F56AM is no where to be found.

So what’s happening with the HVL-F56AM? I know it was listed on Sony Style a couple of days before, because I was ordering some accessories and it was there as big as life. Now it’s gone.

Well, almost gone.. I found that if your order a dSLR, the HVL-F56AM still shows up as an available accessory. I’m not sure if you can actually order the unit, but as of yesterday, if you were buying a camera it was still listed. I also found that if you click on the specs for the F42AM, you can find a sidebar link to the F56AM. That link indicates it is in stock for shipment. The HVL-56AM does not appear in the list under the flashes and lights category.

Sony hasn’t said the HVL-F56AM has been discontinued. So what happened to it? The brand new HVL-F42AM offers most of the features of the HVL-F56AM, and is priced at $299. The HVL-F56AM’s most recent list price was $449.

I don’t have any hard information from Sony, but if I had to guess there are two things going on here. First, the HVL-F42AM offers almost the same features at $150 less. Admittedly, the HVL-F56AM has a guide number of 56, while the HVL-F42AM has a lower guide number of 46. The HVL-F42AM is more or less equal to the HVL-F56AM in most other respects. I suppose that 14 guide units might be worth $150 is some cases, but for most people the HVL-F42AM will appear to a be a better value.

New Sony HVL-F42AM Flash

Is the just released HVL-42AM Sony’s current high-end electronic flash?.

The second aspect is that Sony has indicated that there will be a flagship flash unit to accompany the new flagship dSLR. I don’t have specs on the yet to be announced Alpha flagship flash, but I have to believe a electronic flash unit billed s the flagship will have to be superior to all current Sony and Minolta electronic flash units.

At the same time, how much higher could Sony price the flagship flash? It would have to be considerably higher than the HVL-F56AM at $449, otherwise who would buy the HVL-F56AM at the expense of the flagship? On the other hand, if they reduced the ticket on the HVL-F56AM, it would cut into sales of the HVL-F42AM and the HVL-F36AM.

So Sony (apparently) chose to axe the HVL-F56AM. Maybe sales of the more expensive unit were flat. Or maybe Sony needed the production facilities to start building the flagship flash.

Does this mean the flagship will be coming sooner than this fall? Or will the new flash unit be released before flagship dSLR? Since the the upcoming dSLR will be full frame, its possible the new flash will cover a wider angle, since one of the reasons for shooting with a full frame dSLR is the opportunity to shoot with a full complement of wide angle lenses,

Of course, this could be a simple mix-up. Someone at Sony redesigned the web page and happened to leave the F56AM off the main flashes and lights order page. Maybe Sony just had a temporary shortage of HVL-F56AM units and the F56AM will appear on Sony Style in the future.

On the other hand, if I really wanted a HVL-F56AM, I mean I really wanted one, I would start looking around to find a merchant that still has a new HVL-F56AM in stock.

Sony Alpha division manager interviewed on The Digital Photography Show

Thursday, February 21st, 2008

Mark Weir, the Senior Technology and Marketing Manager for Sony’s Alpha dSLR division appears in an interview on the latest podcast from The Digital Photography Show.

I am a frequent listener to the DPS podcast. It is an easy-going. no-stress show. Hosts Scott Sherman and Michael Stein freely admit they aren’t professional photographers — they are just a couple of regular guys who are nuts over digital photography. The testimony to their interest in digital photography lies in the latest show, which happens to be episode #84. It takes a lot of work and effort to produce a podcast on a regular basis — most of casts in my iTunes library are abandoned during the first year. Sherman and Stein, however, have just released their eighty-fourth show and don’t appear ready to quit anytime soon.

Picture 2.png

Although I enjoy listening to show, the pair spend way too much time yammering about cameras that start with the letters “C” and “N,” WAY too much time. Until recently, they attempted to defend their posture with usual “most people” use certain brand cameras. Now, however, it appears they have had enough complaints from listeners that they have rethought their show. They have started discussing lots of other cameras on the podcast. The Mark Weir interview is one of their efforts to welcome other dSLR makers to their party.

They caught up with Weir at the Sony booth at the recent PMA show. The interview runs about 30 minutes — the first half discusses the Sony Alpha dLSRs, while the second explores some of the new technologies Sony is bringing to their point and shoot models.

There isn’t anything really new in the interview, but it is still worth listening to, especially if you are an A-mount shooter. Weir explains in detail the advantages to the new Sony Live View system offered in the Alpha A300 and A350. He also hammers home the advantages of in-body image stabilization. In addition to not having to buy IS with every lens you acquire, Weir points out that it is impractical to add lens-based IS to many macro and wide aperture lenses. Thus the Sony in-body system allows users to enjoy IS in many types of lenses that are simply unavailable from competing lens-based IS systems.

Weir also proudly announced that the upcoming Alpha flagship dSLR will be the first full-frame SLR with in-body IS. I guess that answers some of our questions on that point. I was really impressed that he was able to say the phrase “Super Steady Shot” and not sound the least bit silly.

Sherman did try to pry information about the price of the flagship out of Weir, but got nowhere. All Weir would say on the subject of price is that he thought everyone would be pleasantly surprised about the price — or words to that effect. I liked hearing that, but only time will tell.

You can download the Sony Mark Weir interview at The Digital Photography Show. As you might expect, the show is also available on iTunes. Just search for The Digital Photography Show in the podcast directory and download episode #84. It’s a fairly long podcast, and a lot of the stuff in the beginning wasn’t all that interesting to me. The Weir interview starts exactly at the 30 minute point.

A while back, I pointed out that the A700 was forcing many of the media to look at Sony with fresh eyes. With the addition of the A200, A300 and the A350, Sony is developing a line of dSLRs that demand respect and attention. It appears that Scott Sherman, Michael Stein and the Digital Photography Show have started to get the message. After all, “A” comes before “C” and “N” in the alphabet!

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Sony Alpha A700 RAW files now native in Mac OSX

Tuesday, February 19th, 2008

Our friend Bert Pasquale is back, and he is excited about the Mac OSX 10.5.2 native support of A700 RAW files. What follows is Bert’s enthusiastic report of 10.5.2’s handling of A700 ARW files, as well as a look at Aperture 2.0 If the terms Sweet, Nice and Very Nice are any indication. Bert is pretty happy about the update.

Sony Alpha A700 files (RAW and cRAW) now natively supported in Mac OSX 10.5.2; Aperture 2.0 Free 30-day trial available.

New Sony A200

Latest 10.5.2 OSX upgrade will offer native support for A700 RAW files.

Photo: Courtesy of Apple Inc.

If you’ve been having to use the included SONY software or Adobe Camera Raw the past couple months to open and process your A700 ARW files, you now have options of using any Mac-native image software. Thanks to the 10.5.2 update, many new RAW formats are recognized. (Use Software Update to install the latest components.) You can view them in Preview, sort them in iPhoto, or fully process them in Aperture. Speaking of which…

Not by coincidence, Apple released Aperture 2.0 the day after the 10.5.2 update, boasting “100+ new features.” I’ve just taken a look and it seems very promising — yet to determine if it will win me back from the Adobe Bridge/Lightroom workflow. I’m using it to process a batch of portraits I recently shot; here are initial impressions of features not to overlook:

  • All image info and adjustments are consolidated in a single pane, which can float over full-screen images as a breakaway HUD. Nice.
  • SPEED. Option for thumbnail-only previews so far eliminates spinning beach balls. Very nice.
  • Much improved RAW processing algorithm with many new parameter controls. (Similar to current ACR offerings.)
  • Eyedropper selection of 6 specific hues to adjust. Sweet.
  • Allows for retouching (healing & stamp functions) without going to Photoshop.
  • Access to iPhoto library w/o having to re-import, iPhoto 08 features such as rollover library views and integration to .mac web galleries.
  • Integration with the rest of iLife/iWork apps, iPod sync, etc…

For a full-immersion of what AP2 is capable of, visit http://apertureprofessional.com The real test will be how developers do providing additional plug-ins.

- Bert Pasquale
Optical Engineer,
Photographer, LifeStoryImages.com

I’ll save you the trouble of searching for Apple’s Press Release to see everything included in Aperture 2. You can read it here:

Apple Releases Aperture 2

Major Upgrade Features Improved Interface, Faster Browsing & Enhanced Image Processing

CUPERTINO, California—February 12, 2008—Apple® today introduced Aperture™ 2, the next major release of its groundbreaking photo editing and management software with over 100 new features that make it faster, easier to use and more powerful. With a streamlined user interface and entirely new image processing engine, Aperture 2 also introduces new imaging tools for highlight recovery, color vibrancy, local contrast definition, soft-edged retouching, vignetting and RAW fine-tuning, and lets users directly post their portfolios on the .Mac Web Gallery* for viewing on the web, iPhone™, iPod® touch and Apple TV®. At a new low price of $199, anyone can easily organize, edit and publish photos like a pro.

Aperture 2.0 box

Aperture screen shot

Apple is fighting back in the RAW workflow wars with the greatly enhanced Aperture 2.0

Photo: Courtesy of Apple Inc.

“Many of the most respected photographers on assignment all over the world trust Aperture to organize, edit and deliver their images,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “With its simpler interface and lower price, anyone can take full advantage of Aperture’s power.”

“At the end of the day, it’s all about the quality of the image,” said Sports Illustrated contributing photographer David Bergman. “Even before I begin making adjustments, Aperture’s new RAW processing gives me better images with more visible detail and better color rendering than any other program I’ve tested.”

“I used to have so much stress about post-production on a shoot, having to juggle multiple applications to make sure they all worked,” said Bob Davis, PDN Top Knots Wedding Photographer 2007. “With Aperture that’s no longer a factor. I can do everything all in one application.”

Featuring a new, easier user interface designed to be more intuitive and accessible, Aperture 2 now lets users navigate between Viewer and Browser modes with a single key command. Screen real estate is maximized for images with an all-in-one heads up display that allows users to toggle between library, metadata and adjustment controls in a single tabbed inspector. The All Projects view, modeled after iPhoto’s Events view, provides a poster photo for every project and the ability to quickly skim through the photos inside, and the integrated iPhoto® Browser offers direct access to all the events and images in the iPhoto library.

Performance has been enhanced in Aperture 2 so it’s faster to import, browse and search large volumes of images. Embedded previews let photographers caption, keyword and rate images as they are being imported, and with the ability to export images in the background, photographers can continue working while images are processed to JPEG, TIFF, PNG and PSD file formats. Quick Preview allows users to browse RAW images in rapid succession without having to wait for files to load, and the Aperture library database has been re-architected to provide fast project switching and near instantaneous search results, even when working with extremely large libraries of 500,000 images or more.

Aperture 2 delivers powerful new imaging tools for getting the most out of each photograph. Apple’s next-generation RAW image processing is at the core of Aperture 2 offering uncompromising image quality and precision controls that let users fine-tune the image profile for each of their cameras. New tools for improving and enhancing images include Recovery for pulling back “blown” highlights, Vibrancy for selectively boosting saturation without adversely affecting skin tones, Definition, which offers local contrast for adding clarity to images, Vignette & Devignette filters for providing professional visual effects and a true soft-edged Repair and Retouch brush for quickly and easily removing blemishes, cleaning up sensor dust and cloning away problem areas.

Aperture 2 works seamlessly with Mac OS® X, iLife®, iWork™, .Mac and Apple print products, so any image in the Aperture library can be accessed directly from within other applications, such as iMovie®, Keynote® and Pages®, and even from within Leopard™ Mail. Now with .Mac Web Gallery support, Aperture users can publish their photos once to view them on the web, iPhone, iPod touch and Apple TV. Books in Aperture 2 feature new theme designs, layout tools, customized dust jackets (including full-bleed) and foil stamped covers.

Pricing & Availability
Aperture 2 is available immediately for a suggested retail price of $199 (US) through the Apple Store® (www.apple.com), Apple’s retail stores and Apple Authorized Resellers. Owners of previous versions of Aperture can upgrade to Aperture 2 for just $99 (US). Full system requirements and more information on Aperture 2 can be found at www.apple.com/aperture.

* The .Mac service is available to persons aged 13 and older. Annual membership fee and Internet access required. Terms and conditions apply.

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A300 and A350: Sony Alpha line gains two more dSLRs

Thursday, January 31st, 2008

Another week, a couple more new Sony Alpha dSLRs…

Sony has officially announced two new dSLRs, both featuring Sony’s new Quick AF Live View system. This brings the Sony dSLR model lineup to five, provided you include the original A100, which is no longer in production but still available in many outlets.

Only about four months ago, the A100 was Sony’s only dSLR and had been for eighteen months. To many observers, it seemed Sony had lost their direction and might even abandon the dSLR market.

New tilt live view

Tilting live view LCD appears on new Alpha dSLRs.

Sony has effectively shut down the naysayers by releasing the A700 in September of 2007, then unleashing the A200, A300 and A350 in January 2008.

The A200 was announced at the CES show, and only a few weeks later, Sony sends word that the A300 and A350 will ship in March and April.

The A300 specs seem similar to the A200 with the same 10.2mp sensor. The A350 ups the ante with a new 14.2mp CCD sensor.

The feature that sets the two “main-stream” dSLRs apart is the Live View system. The tilt out 2.7” LCD panel allows the user to compose and shoot from a variety of angles. The Quick View system uses a second sensor to continuously monitor the scene:

Here is what the Sony press release has to say:

Sony’s innovative Pentamirror Tilt mechanism directs light to a dedicated live view image sensor, enabling fast and responsive TTL phase-detection auto-focusing, even during live view.

Eliminating the focus delay of other systems, the new models are equally responsive whether using live view or optical viewfinder.
With its two sensor design, Quick AF Live View can even continuously focus-track the subject and provide live view during burst shooting, helping you capture that special moment.

Although I am not particularly interested in Live View, on paper it appears the Sony system is one of the best implementations of Live View yet.

14.2mp logo on new Alpha A350

Alpha 350 boasts 14.2mp (CCD).

The DSLR-A300 kit with a DT 18-70mm f3.5-5.6 standard zoom lens will ship in April for about $800. The DSLR-A350 camera body will be available in March for about $800, and the DSLR-A350 kit with a DT 18-70mm f3.5-5.6 3.9x zoom lens will be available for about $900 at the same time.

After an incredible drought, A-mount shooters suddenly have wide selection of dSLRs to choose from. And yesterday’s huge announcement of the 24mp full-frame sensor is a reminder that the A900/flagship model is yet to come.

All of a sudden, it is a great time to be an Alpha Mount shooter!

Sony announces new 24mp full frame sensor — can anyone say A900?

Wednesday, January 30th, 2008

Sony has just announced a 24.8MP full frame 35mm sensor targeted at digital SLRS. The new CMOS sensor is said to use advanced circuitry to overcome the limitations inherent in creating a full frame sensor.

Sony full frame sensor

The answer to a hard drive maker’s prayers: the Sony 24.81mp sensor.

The following is from the Sony press release:

The enhanced image quality generated by the sensor’s 24.81 effective megapixel resolution, wide range of graduation expression achieved by its full size broad dynamic range, and the low noise, high resolution, ultra-responsive performance provided by Sony’s Column-Parallel A/D Conversion technique enable it to meet the ever-increasing requirements within high performance digital SLR cameras.

Sony will target for mass production of this CMOS image sensor within this year.

Major features

  1. High picture quality in 35mm full size image sensor with 24.81M effective pixels
  2. “Column-Parallel A/D Conversion method” achieves high S/N and high-speed imaging
    • CDS/PGA(24dB) Circuit (PGA: Programmable Gain Amplifier)
    • 12bit-AD Converter on chip
    • Diversified readout mode
      • All-pixel scan mode 6.3 frame/s (12bit)
      • Window readout
    • High-speed digital output (12 channel parallel LVDS output)

Device Structure
Image size Diagonal width: 43.3mm (Type 2.7)
Total number of pixels: 6236(H) x 4124(V) approx. 25.72M pixels
Number of effective pixels: 6104(H) x 4064(V) approx.24.81M pixels
Number of active pixels: 6096(H) x 4056(V) approx.24.73M pixels
Chip size: 41.0mm (H) x 31.9 mm (V)
Unit cell size: 5.94um (H) x 5.94um (V)

This sounds pretty incredible. We’ve all heard the “too good to be true” rumors, now we have Sony’s announcement that they will offer a full frame, nearly 25mp sensor.

Two things are evident. This has to be the sensor Sony will use in the flagship/A900 dSLR. It has to be. Sony will undoubtedly offer to sell this sensor to other manufactures including Nikon and Pentax. But they can’t call their top-of-the-line camera the flagship unless it utilizes the best technology Sony has to offer. So unless Sony is developing something even more incredible, this has to be the heart of the flagship.

The other point is the press release says the sensor will be mass produced within this year. That tells me the flagship won’t be on sale any time soon. This year, maybe, but those hoping for a PMA announcement with the camera shipping soon afterwards are going to be disappointed. It is possible Sony could announce the flagship at the PMA show, but from the tone of the press release the top of the line Alpha won’t be on dealer shelves for some time.

Don’t worry too much about the A900. It seems that Sony has a whole box of new toys they are ready to announce at PMA. We are sure to see some new Sony dSLR hardware before the week is up.

If you still have your heart set on the flagship, look at it this way…you’ll have several months to stock up on terabyte hard drives to store all those images from that huge sensor

Watch this space for more Sony dSLR news in the coming days.

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Sony Alpha lineup: what does the Nikon D60 mean to future Sony dSLR models?

Tuesday, January 29th, 2008

Don’t look now, but photos of the Nikon D60 are starting to appear throughout the web. Why should A-Mount shooters care about Nikon’s latest offering? Aside from the fact that the D60 probably will use a Sony built sensor, rumors suggest that the D60 may replace the D40, which has been Nikon’s low end dSLR up until now. Before the introduction of the D40, Nikon lagged behind Canon in sales. Although I haven’t seen total world wide sales figures for dSLRs, shortly after the D40s introduction, Nikon began outselling Canon - at least in the Japanese market. There might have been other factors, but the D40 was a landmark camera for Nikon and undoubtedly helped Nikon regain its strength.

Of course the biggest reason the D40 has sold so well is price. The 6MP D40 carried a list price of $599. This was far less than most dSLRs and gave Nikon a real advantage in the dSLR marketplace,

A worthy competitor to the Sony A200?

If the rumors are accurate, the new Nikon will carry a 10.2mp sensor, making it a true competitor to the brand new Alpha A200. Here is where things get interesting. As I said, many rumor sites are indicating that the D60 will replace the D40. Which begs the question, if the D60 will replace the D40, will Nikon retain the $599 price for their introductory model?

If so, this is significant, because it will mean that the brand new Sony A200 will soon have to face a 10.2MP Nikon that will be priced about $100 less.

Of course the details of Nikon D60 are still cloudy, but it is believed that it will be a 10.2MP dSLR with an anti-dust system and similar internal processing as the upper level Nikons.

Nikon hasn’t acknowledged the price of the D60, but it is awfully hard to raise prices in the world of digital cameras. If the D40 is actually going away, I think both consumers and resellers would start howling if Nikon suddenly raised the list price of their introductory model above the D40’s $599 kit price.

If the D40 remains in the catalog, then Nikon is free to price the D60 however they wish. If the D40 has reached the end of the line, however, the D60 almost has to sell for a similar $599 price.

What does the D60 mean to Sony Alpha Users?

So where does that leave Sony and the Alpha lineup? The A200 has at price of $699. That wasn’t a big problem when facing the D40, which could only muster 6MP. Against a similar 10.2MP model, however, the A200 starts looking overpriced.

Alpha A200’s great advantage: Super Steady Shot

The one great advantage the A200 will continue to enjoy is in-body image stabilization. The D60 can’t match that, so the A200 can be considered a superior camera. In fact, unless Nikon were to offer an image stabilization lens as the kit lens (highly unlikely at $599), D60 users will have buy an expensive IS lens to enjoy the image stabilization Sony users get with all lenses. I’m not an expert on Nikon lenses, but most IS lenses I have seen would cost more than the D60 body.

So Sony probably could justify the higher price tag of the A200 on this single feature alone. Those who realize the value of in-body IS would probably feel it was worth it.

But many of the people moving from basic digital cameras don’t necessarily understand the value of Sony’s Super Steady Shot. (Great system, really dumb name.) For the bulk of first time dSLR users, the pixel count is still the determining factor. While some of the better camera shops may take the time to explain Anti-Shake to prospective users, Sony can’t expect the sales people at the big box stores to steer people into the A200.

So that $100 could be a real liability, unless Sony either drops the price of the A200 or introduces a lesser priced dSLR. If the D60 does list for less than $600, I expect Sony to react quickly.

What is your take?

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Will the Alpha A300 be the next SLR from Sony?

Thursday, January 24th, 2008

Ok, the Sony A200 dSLR hasn’t even started shipping yet, but already the rumor mill is racheting up into a fever pitch. The majority of the rumors are claiming Sony will introduce at least one or perhaps two new dSLRs slotted between the A200 and the A700. The new cameras, which the rumor sites have started identifying as the Alpha A300 and A500 models, are supposedly designed to provide Sony with a full range of dSLRs and offer Alpha-mount users a series of competitive price points.

Of course, Sony hasn’t even told us that the flagship SLR will be called the A900, although most camera pundits are already calling it by that name. They haven’t said that there will be an A300 or an A500 or any camera between the A200 and the A700. Then again, Sony didn’t tell us much about the A700 before it’s release and they certainly didn’t tell us anything about the A200 before the announcement. In this matter, it seems Sony is patterning itself after Apple, Inc. Apple’s Steve Jobs is famous for keeping an extremely tight lid on future products and the Mac rumor sites drive their readers crazy trying to guess what Apple’s next move will be. It isn’t difficult to draw a parallel to Sony’s dSLR camera division, which seems more secretive than the other top-ranked digital SLR camera makers.

Alpha A100

What’s next for Sony’s Alpha dSLR lineup?

So the rumors could have at least a grain of truth to them. There are even “leaked” photos of the supposed middle of the road cameras. You can see one set of leaked A300 photos at Photogrqphy Bay. Slash Gear offers the same tilt out, LCD Live View Alpha A300 photos.

Of course, in the days we find ourself in, photos are hardly overwhelming evidence. You can create some very convincing fakes in Photoshop, especially if you mix parts of various existing cameras. In the Apple Inc. rumor scenarios I mentioned, there have always been dozens of very well done, fake images floating around, especially before an upcoming product launch. Even some big name media outlets have published these fake photos as the “real thing,” then they had to swiftly backpedal when the actual Apple announcement was made.

So I am not going to speculate too deeply about the supposed new models, other than to wonder if there is a valid reason for Sony to offer any models between the A200 and the A700.

On the face of it, I don’t understand why Sony would need a fist full of camera models. To my mind, the A200, A700, A900 lineup seems to cover most dSLR users. If anything, I think Sony could use a stripped down dSLR model priced beneath the A200 that would coax more point and shoot users to move into a dSLR. At the same time. however, I am perfectly willing to concede that Sony has their own strategy for the Alpha line and they are more qualified then I am to plan their future dSLR offerings.

Minolta, of course, offered a plethora of models once they started to flesh out the A-mount line. If you check out Mike Hohner’s great Sony/Minolta Auto Focus body list, you will see that Minolta sold models to fit every possible need and price range. Did consumers really demand that many different SLR bodies? Apparently Minolta thought they did.

Details are sketchy, but the supposed leaked images show a camera similar to the A200 with a tilt out LCD screen. The implication is that the new model(s), if they are real and not some Photoshop wizard’s fantasy, will have Live View.

Now remember these are rumors we are talking about here — not confirmed facts. Shortly before the A700 was launched thee were some very respectable camera writers suggesting that the Advanced Amateur dSLR (which was released as the A700) would have 14mp and feature a 1.25 crop sensor. Neither came to pass, the A700 uses a very respectable 12mp, APS-C sensor. But many enthusiasts were disappointed that the camera did not live up to the rumors. If you are going to play the rumor game, you have to accept that fact that some, if not most, of the information will be inaccurate. That’s just the way it is.

Having said that, a lot of Alpha enthusiasts are speculating that Sony will release a new dSLR model priced around $1,000 US — smack in between the A200 and the A700.

Hmm… That places the mystical A300/A500 about $300 or so more than the A200. It could happen…but what exactly could Sony tack on to the A200 to make it worth three hundred more than the A200?

Live View? Maybe that is worth three bills to some people — it certainly isn’t to me. There are a few legitimate uses for Live View, but I would guess I would use Live View for less than 5% of my shooting. Is that worth $300 to you?

The other laughable suggestion is that Sony will equip the fictional $1,000 camera with a larger sensor…maybe the same 12.7MP sensor the A700 uses.

I ask you, if Sony suddenly unleashed a 12mp dSLR priced at a grand (list), what role would the A700 play in the Alpha line up? If you had the chance to buy an A200 style body with the sensor from the A700 at $1,000, would you ante up the extra $500 or so for an A700? Maybe some would, because the A700 is definitely a superior camera. For most users, however, the thousand buck 12mp dSLR would do nicely, effectively cannibalizing sales of the A700.

There are, of course, some limitations to the A200. AFAIK, there is no PC sync port and it doesn’t offer provision to tether the camera to a computer. I could be wrong on both counts, because the Sony A200 press release doesn’t address these issues. But I don’t see evidence of a PC port in the advance photos and the Alpha A100 lacked these features, so I am assuming the replacement will as well.

Would an 10mp A-mount SLR with Live View, PC sync and tethered shooting be worth $300 more than the A200? I’m not sure, but it would definitely be a step in the right direction. What’s your take on the A300/A500 rumors?

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Who is that guy?


Web designer and photographer Tom Bonner has three decades of experience with Minolta camera equipment

Hi. I'm Tom Bonner and I've been shooting with Minolta SLRs for over three decades.

Alphatracks is my attempt to follow Sony's maneuvers in the dSLR market, and at the same time provide a resource for Minolta film and digital SLR users. A-mount shooters have to watch each other's backs, because there aren't as many of us. At least not for now....

You can view my design portfolio at http://adventuresindesign.com.


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