Archive for the 'Sony DSLR' Category

A visit to historic Old Salem Village

Friday, October 31st, 2008

Strolling through Old Salem Village in North Carolina

We spent a couple of days in Winston-Salem (North Carolina) recently. One of the highlights was a visit to Old-Salem Village. Established by the Moravians in the 1700s, the village is an interesting mix of modern shops in a historical setting. Unlike most attractions of this type, the town is freely open to everyone, with no admission. A Ticket are required to enter some of the buildings, but you are free to wander about and enjoy the setting without paying an admission.

Old Salem Village Image Gallery.

We only had a couple of hours to spend in the village, but the light was grand for photography. I had the Sony Alpha A350 with me, and since there wasn’t much time I decided I didn’t want to lug around a camera bag. So I selected my Minolta 28-85mm lens, figuring it would provide the best combination of focal lengths for a quick tour.

There was no shortage of subjects to shoot, and even though it was late in the afternoon, I found the long autumn shadows were quite interesting.

I used between a half and one and half stops exposure compensation to open up the shadows many of the buildings. I shifted between aperture and shutter priority for most of the shots. Everything was shot in RAW.

The lens revealed the famous “Minolta Colors” in many of the images. All in all, I was pleased with what I shot. I was somewhat surprised, however that my favorite shot was the front of a couple of buildings lining a side street. There was nothing especially noteworthy about the buildings and I the resulting photo was pretty much a simple grab shot. When I first looked at the image on my Mac, I thought it was okay, with pleasing colors.

Side street, Old Salem Village

There is more to this building in Old Salem Village than meets the eye…

Then I looked closer and started to notice dozens of small, but interesting details. The architecture and construction drew me deeper and deeper into the photo. This has nothing to do with me as a photographer. Well, maybe a little..:). I did see the potential in the shot, but I never noticed the details while we were in Old Salem. My true appreciation of the building’s construction details didn’t come until several days later, sitting at my computer. An even then, it didn’t jump out at me as something special. It wasn’t until I went through the images in Lightroom a few times that I started to see the things that make the image special.

I’ve put together a small gallery images from my visit. You can view it here: Old Salem Village Image Gallery. As I said, all images were shot with the A350 and the Minolta 28-85mm lens.

As I said, we spent less than two hours at the village. My appetite has certainly been whetted to go back when I can spend more time. I am sure Christmas time would be an excellent time to return. I imagine tons of Moraivain stars everywhere, steaming cups of hot chocolate…and of course; Moravian cookies! Yes, Christmas time should be an excellent time to go back.

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Sony Alpha DSLR-A300/A350 Digital Field Guide: Coming Soon!

Monday, October 27th, 2008

I’m back….

I haven’t abandoned Alphatracks…although it probably seemed like I had.

In actuality, I have been wrapped up finishing the Sony Alpha DSLR-A300/A350 Digital Field Guide
 for Wiley Press. It was a lot of work, with many late nights and more than a few weekends spent rewriting text and editing images. I really enjoyed the process, however, and I am happy to say the completed manuscript is the printer and the book should be shipping by early December. My only regret is that I had to neglect this blog for so long. I hope to make up for lost time in the coming months.

The new book is part of the Wiley Digital Field Guide series, each of which focuses on a specific dSLR camera. As you may have inferred from the title, this particular book is for users of the Alpha A300 and Alpha A350 dSLRs. I found the A350 a truly fun camera to work with, and I attempted to convey that in the book.

Following the patten of all Wiley Field Guides, this book includes a full description of the A300 series, exploring the menus, controls and features of both cameras. The A300 and the A350 are nearly identical, the only difference being the A300 has a 10.2mp sensor, while the A350 utilizes a 14.2mp chip. Because files from the A300 are smaller, the Alpha 300 offers a slightly faster continuous frame rate, while the A350 cranks out massive 4592 x 3056 pixel images. Otherwise, the controls and operation of both cameras are the same, so this book covers both cameras in depth.

There are chapters on compatible lenses and flash units, including a look at compatible Minolta AF lenses. There are also chapters on basic photography, lighting, camera troubleshooting and image editing workflows. All the Digital Field Guides include a large section comprised of photo exercises designed to elevate your skills in a wide variety of photographic pursuits; including sports, travel, event photography, animal photography, portraiture and many other specialty disciplines.

My goal for the book to create a resource that can be tossed into your camera bag to provide help, instruction and inspiration when you are shooting in the field. That is the field guide portion of the book. At the same time, I hope readers might find it useful to curl up with these pages on a rainy day and immerse themselves in the operation of the Sony A300 and A350.

Sorry if this sounds like a commercial, but I have been living with this book for the last several months, so I have to talk about it here.

One final thing. The book won’t be available until December. It is however, available for pre-order on Amazon now. If you buy it in advance, Amazon will knock $6.40 off the list price, so you can get it for $13.59. That represents a 32% savings. After the book is published, Amazon will raise the price back to $19.99.  So, if you’re interested, you can save almost a third by buying in advance. The book qualifies for free shipping from Amazon, however there is a $25 minimum, so you will have to combine the order with something else to qualify.

If you’re interested, there is an Amazon link on the sidebar that will take you directly to the book’s Amazon page. It is also available through must online sellers; Books-A-Million, Barnes and Noble, Borders, etc. Once it is in print, you should be able to find it at most brick and mortar bookstores as well.

Although this book is aimed at the A300 series, Alphatracks will continue to look at all the full range of Sony Alpha and Minolta SLRs. If your camera uses A-mount lenses, you’re always welcome here!

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Sony foams Miami: Alpha dSLR part of major promotion

Monday, April 14th, 2008

For some time I have been wondering why Sony (SNE) doesn’t use it’s marketing muscle to promote the Alpha dSLR line more effectively. Despite the onslaught of great dSLR models such as the A700, the A350, A300, and A200, I continuously run across people who are completely unaware that Sony is in the dSLR business. Sony is known for their point & shoot models, but their dSLR line up seems to fly under many people’s radar. Surely Sony has the resources to overcome this problem, so why don’t they let their marketing dogs out?

Maybe they have. Sony is embarking on a pretty incredible advertising campaign, centered around, of all things, white foam. To create “Foam City,” Sony covered a big part of Miami with white foam and turned photographers loose to record the event with Sony dSLRs and camcorders. This was a major production, with entire city blocks buried deeply in foam. We’re talking an avalanche of foam, covering everything less than the size of a skyscraper.

You can watch a clip of the Foam City promotion right here:

What is required to coat blocks of a major city with deep white stuff? Among other things, all the drains in the area had to be sealed to keep the foam out of the city’s water supply. The foam is biodegradable and non-toxic, but Sony wasn’t taking any chances. After the shoot, a special spray was used to dissolve the foam and street cleaning machines were used to mop everything up.

Although the principle purpose of the shoot was to create a television commercial, shots from Foam City will be used to promote all sorts of Sony products, including the Sony Alpha dSLR. According to Sony Europe press release:

The foam theme is being used across all digital imaging advertising activity, and, there will be product specific ads appearing in addition to the main advert – focusing on the different technologies of the new ranges.

Oddly, it wasn’t Sony USA reporting on the event, rather it was a release from Sony Europe. Does that mean the campaign will be aimed at Europe rather than the US? Then why film it in the United States?

Wherever the commercial will appear, it sure to be an attention grabber. Those who see it will remember it. Hopefully they will remember the Sony Alpha brand as well.


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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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Sony confirms 24mp sensor in Alpha flagship dSLR

Wednesday, February 13th, 2008

Sony quickly ended speculation about whether the new 24mp sensor would show up in the yet to be officially named “flagship” dSLR. Soon after Sony announced the full frame sensor, several high-profile Sony doubters expressed their opinion that Sony would never use the sensor in their own cameras, because after all “Sony would never dare to challenge Nikon and Canon in the pro arena.”

Here is what technology site Gizmodo had to say when Sony took the wraps off the new sensor: “Sony isn’t about to pop it in one of its Alpha models, at least not as far as we can tell.” That idea was echoed by several other commentators.

That sound you hear is those same forecasters gnashing their teeth after Sony proclaimed that, yes indeed, the upcoming flagship will be equipped with the big full frame sensor. So much for the theory that Sony is afraid of competing in the professional category.

There is, however a minor mystery. The new full frame sensor is rated at 24.8 megapixels. The flagship, on the other hand, will boast 24.6mp. That unexplained 0.2mp difference has led to some interesting speculation.

Sony Alpha flagship (A900?)

Sony Alpha flagship will boast full frame sensor, 24+ megapixels

Some have suggested it is a completely different sensor. Sony however has indicated that the flagship will use the recently announced full frame sensor.

If you’ve been reading Alphatracks for any length of time, you know we have discussed at length the ramifications of installing a full frame sensor with in-body stabilzation.

Could that 0.2mp difference represent the crop factor needed to use the sensor with Super Steady Shot? If so, it isn’t much of a crop. If my math is correct, the sensor would be roughly 99.193548387096774193548387096774 percent of a full frame. That would be something like a 1.008 crop factor. In other words, no crop at all.

Of course Sony hasn’t said the missing 0.2 megapixel is related to the Super Steady Shot. Perhaps there is some other reason Sony trimmed that portion of a mp from the sensor. Since the flagship will use a CMOS sensor, it should be possible to “shut off” any unneeded pixels.

Sony has said the flagship will ship this year. Many observers are suggesting a Photokina timeframe. (September) Sony hasn’t confirmed that — in fact Sony hasn’t said that the dSLR will be known as the A900, although many people have already started calling it that. Sony has firmly said the dSLR will ship in 2008.

To me, it really doesn’t matter where that 0.2mp went. The flagship will be full frame and pack more that 24mp.

All of a sudden those Sony haters have started to get rather quiet.

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Sony Alpha news explodes at PMA 2008

Sunday, February 3rd, 2008

What a difference a year makes. At the 2007 PMA show Sony Alpha dSLR line was shunned by most of the press. There were no great announcements, although Sony did show off two mockups of yet unnamed dSLRs. The “Advanced Amateur” model eventually came to pass as the A700, while the tantalizing “flagship” is still waiting to be released. Other than the concept cameras, which Sony refused to elaborate on, there wasn’t much to see. The press lavished tons of coverage to other major and minor dSLR offerings, but except for the few A-mount sites and forums, Sony was just a postscript at PMA 2007.

Sony was not about to let that happen again. The 2008 PMA show was packed with Sony and Sony Alpha dLSR news. Of course everyone is still talking about the incredible 24mp, full-frame sensor that Sony announced, and the introduction of not one but two new live view dSLR bodies caught a lot of people by surprise. The A300 and A350 are a huge shot in the arm to the Alpha line, and should go a long way to convince potential customers that Sony is serious about playing in the dSLR arena.

In the excitement of the huge sensor and live-view SLR announcements, many observers may have overlooked Sony’s release of several new dSLR accessories.

New Sony HVL-F42AM Flash

Sony will add a new flash unit to their existing Alpha flashes.

The first totally new Sony Alpha Flash unit, the HVL-F42AM, will be available in the near future. The other Flashes in Sony’s line up appear to be re-badged versions of Minolta flash units. That isn’t a bad thing, Minolta’s wireless flash system was considered by many to be excellent.

The new HVL-F42AM might appear to be a middle of the road unit, filling the gap between the the HVL-F36AM (GN 36) and the big HVL-F56AM (GN 56). While the new flash’s guide number of 42 does place between the current two Sony shoe mount flash units, the HVL-F42AM has an zoom range of 24-105mm. You can cover up to a 16mm lens with wide angle adapter. The current flashes in the Sony catalog offer a range of 24-85mm and the adapter covers 17mm.

As usual, Mike Hohner seems to have an inside track on Sony’s latest products. Here is Hohner’s “Flash tech data for Sony Alpha HVL-F42AM” page.

There is also a Sony Europe press release covering the PMA announcement floating about. Here’s what the release has to say:

Available as an option, the powerful new HVL-F42AM Flash unit is ideally suited to the needs of experienced digital photographers and newcomers alike. Alongside ADI metering and wireless remote operation, it offers automatic WB adjustment with colour temperature information plus an evolved Bounce System with vertical adjustment up to 90 degrees, left to 90 degrees and right to 180 degrees.

With wireless, ADI and manual modes, plus a full range of tilt and swivel possibilities, the new flash unit sounds like it might be an excellent addition to any A-mount user’s camera bag.

Then there are the lenses. Although technically not a PMA announced product, Sony’s latest two lenses were introduced on the eve of the show, so they might as well be considered new PM products. Both of the new lenses use SSM technology for quicker auto focusing.

Carl Zeiss® 24-70mm f/2.8 lens

Say hello to the Carl Zeiss® 24-70mm f/2.8 lens

Coming this spring, the $1,700 Vario Sonnar T* 24-70mm f/2.8 ZA is a very-fast, wide to mid range zoom lens. According to the Sony release:

Co-developed with Carl Zeiss®, the SAL2470Z model is a wide angle 24-70mm zoom lens with a large f/2.8 aperture, ideally suited for discerning landscape and portrait photography. Constructed of 17 elements in 13 groups with two aspheric elements and two extra-low dispersion elements, this lens exhibits excellent contrast and center-to-edge resolution. Its exclusive Carl Zeiss T* (T star) coating technology provides higher light transmission, and minimizes flare to produce images of luminous clarity, color and sharpness.

The SAL2470Z lens excels in difficult lighting circumstances thanks to its f/2.8 aperture, which remains constant throughout the focal length range. The nine-blade, circular iris is especially useful in controlling background defocusing in portrait and landscape images. Combined with Sony’s in-camera Super SteadyShot® system, this lens is the only full-frame compatible large aperture standard zoom with the benefit of image stabilization available in the industry.

Quick and precise focusing is delivered by Sony’s Super Sonic wave Motor (SSM) technology. This SSM system utilizes a solid-state focus drive motor that features silent, high-speed response with high-torque and fine rotational control – especially important for large, wide aperture lenses. A mode selector for manual and automatic focus as well as a focus hold control is provided on the lens barrel.

The second new lens, also available this spring, is the $800 70-300mm f/4.5-5.6 G-series zoom.

The SAL70300G lens incorporates the optical performance of Sony’s G series in a compact and flexible telephoto zoom lens ideal for sports and portrait photography. Constructed of 16 elements in 11 groups, with one extra-low dispersion element, this lens offers superb contrast and sharpness across its wide focal length range.

The use of extra-low dispersion glass compensates for chromatic aberrations which challenge long telephoto zoom lens design, maintaining excellent optical characteristics from center to periphery. Internal focus construction not only realizes compact size, but also a close focusing capability of just 47 inches (1.2m), unusual for a lens of this focal length range.

Sony SAL70300G Lens

New 70-300 G-series SSM Alpha mount lens

Like the SAL2470Z, focus drive is provided by Sony’s Super Sonic wave Motor (SSM) technology. Silent and highly accurate, the SSM system is ideal for providing larger lenses with the speed and rotational precision often required by telephoto shooting. To match auto focus operation to the situation, a focus range limiter can be set to a minimum distance of three meters. A lens barrel mounted focus hold button locks focus if desired.

These lenses are good ammunition to use against those who imply that Sony doesn’t offer sufficient quality glass to complete against the “established camera makers.” We will have to wait to see how these lenses perform in the real world, but it sounds like they could hold their own against anything similar from other manufacturers.

Next up, the new vertical grip. Again this isn’t technically a PMA product, as it was announced along with the A200. The grip is available now at a lest price of $249.00 (less batteries). The PM news is that it is compatible with the A300 and the A350, as well as the original A200. This provides a great deal of flexibility if you trade up or add second body in the A200-A350 family. It does not fit the A700, which has it’s own specific vertical grip, and will not fit the A100 style bodies.

Also optional, the VG-B30AM Vertical Grip allows comfortable handling in portrait or landscape shooting positions. The grip holds up to two NP FM500H Rechargeable Battery Packs for an extended shooting stamina of up to 1460* images (820 images in Live View mode) from a single charge.
*CIPA standard

With the PMA announcements, Sony has taken a major step forward in it’s quest to become a major player in the dSLR realm. Many observers have relegated the Sony Alpha as niche product, offering some nice features but unable to compete against the big name dSLR makers. Sony continues to add luster to its brand, unhurriedly creating a dSLR system that can compete against the best of the best. As these products begin to gain momentum in the marketplace, watch for Sony to assume a dominate role as a dSLR maker.

Read the complete Sony Alpha Europe Press release

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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!

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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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New Sony Alpha A200 dSLR: will it kill A100 prices?

Thursday, January 10th, 2008

Now that we can bask in the glow from two new Sony Alpha dSLR models announced in the last four months, it is time to step back and wonder about the original Alpha — the Sony A100.

Sony has finally admitted that the A100 has been discontinued, although many observers believe A100 production stopped months ago. That doesn’t mean here aren’t plenty A100 kits in the pipeline. If you want a new Alpha A100, you probably can find one easily. The question is; should you buy one and how much should you pay?

Long time readers of Alphatracks may feel I don’t really like the A100, as i seem to always be negatively comparing it to the A700. That isn’t true at all. The A100 is a nice enough piece of hardware, but it is totally outclassed by the features of the A700. The A700 is superior in every way to the A100. Then again, the A700 is selling for about twice the price, so it should be superior.

Sony Alpha A100 — still a good, solid dSLR

Viewed on it’s own merits, however, the A100 is still a solid dSLR. It lacks many of the features available on pro and semi-pro dSLRs, but then so does the Nikon D40 and the Canon Digital Rebel. You get what you pay for, and if you don’t need those high-end features the A100 could serve you very well.

New Sony A200

The Sony A200 carries a list price of $699, ships in February.

Photo: Sony Corp, used with permission

The big question is how will the announcement of the all new Sony Alpha A200 affect to the price tag on the remaining A100 kits? The A200 is much closer in specification to the A100, so comparing the two cameras is easier. Once again, the A100 lags behind the newer model, but the differences aren’t as great. The two cameras boast the same pixel count and feature set. The new A200 offers faster auto focus, a larger LCD screen, faster burst shooting and several minor improvements. The A200 will accept a Sony made vertical grip and Sony claims the high ISO performance has been tuned to dramatically reduce noise.

About the only area where the A100 can claim to be better than the A200 is the controls, as the A100 is quipped with two top panel knobs, while the new model has been reduced to a single adjustment knob. It is a nice feature, but i doubt many photographers would choose the A100 over the A200 because of this solitary advantage.

In the market for an A200? Would a great deal sway you toward the A100?

Here is the thing. When the A100 was introduced in June 2006, it was the first 10mp dSLR to break the thousand dollar price threshold for body and lens. Originally priced at $999.00 ($899 body only) Sony gradually reduced the list price to accommodate the changing marketplace.

Alpha A100

Sony Alpha A100 is still available in many places. How much would you pay for one?

Photo: Sony Corp, used with permission

During the 2007 Christmas shopping season, I spotted the A100 at several of the local outlets — Best Buy, Circuit City, Office Max and HH Gregg. All four stores were advertising a price of 695.00 for the camera and kit lens — two hundred dollars less than the original 2006 sticker price.

Not too bad. But wait. Sony is taking pre-orders for the A200 at $699 — about five dollars more than I can buy an Alpha 100 locally. Online, the A100 is all over the map. If you eliminate the dealers advertising the A100 for a ridiculously low prices (trust me, the unbelievable online prices are almost always scams), you find legitimate dealers like B & H Photo selling the A100 kit for $649 — a mere $50 bucks less than I could order the A200 for. Amazon is even worse — they are actually offering the A100 (through a third party) for $727.00 — almost $30.00 more than a pre-ordered A200.

Sony still has A100 kits in stock — the body only package is listed as sold out, but you can still order the A100 with the 18-70mm Lens for $799 or you can splurge and get the A100 with the SAL-18200 Lens for 1099.95.

Can you say yikes? Obviously these prices won’t hold. The A200 isn’t available as yet, but Sony claims it will ship in February. Unless you absolutely have to have a camera now, it seems to be a no brainer to wait and get the better model. Otherwise you would be paying more for a lesser featured camera.

Caution. Falling prices ahead!

So what so you think the price of the A100 should be? If I were in the market for a dSLR in the A100/A200 class, it would take a substantial price cut to get me interested in the A100. If the difference was only $50.00, I would definitely spend the extra cash and get the better A200. I think the improved features of the A200 are easily worth more than a hundred bucks, so I would need to see prices fall well south of $600 before I would consider a new A100 over a new A200.

So far, we have been discussing brand new, full-warranty cameras. What about used models of the A100? If you are hoping to sell your A100 in the near future, you are probably going to have a hard time getting what you think it is worth. I don’t know how many A100s are still on dealer shelves, but I expect to see some fire sales as dealers clear the old stock to make room for the new hardware. How much would you pay for a used dSLR when you can buy something brand new for less than $600?

Of course there may be suckers who aren’t willing to do their homework before trading their cash for a shinny dSLR. When Minolta exited the camera businesses there were plenty of brand new Maxxum 7d camera kits in the warehouse. I saw several reputable outlets — places you know would stand behind their merchandise — selling brand new 7ds with warranties for less than $650.00. At the very same time, I saw numerous 7d auctions on eBay where the uninformed bid over $900 for a used model.

Back to the subject of pricing on the A100, I think we are going to see some interesting times in the months ahead. There are still many A100 hold outs who have decided to pass on the A700 and wait for the A900 (or whatever Sony ends up calling the flagship model). When the A900 is released, there will undoubtedly be a flock of used A100s on the market. If the dealers still have new A100 kits to rid themselves of, we may see some unheard of bargains for A-mount digital SLRs.

Let the price slashing begin!

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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 am the author of the Sony Alpha DSLR-A300/A350 Digital Field Guide, published by Wiley Publishing. 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 yet....


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