Photoclub Alpha

While I appreciate the threads on dPreview calling for them to lift their ban on my using the dPreview forums, they have gone over the top - if they do unban me, what if have nothing useful to say? I can not be a permanent fixture on the dPreview Sony SLR forum although I am happy to participate in that, and several other dPreview forums. In a way I am hoping they do not lift the ban.

Nikon is holding a launch today (June 30th) in London, and presumably worldwide. Richard Kilpatrick is attending for Icon Publications Ltd. As at 1.30am Monday, no press release has been received from Nikon, so we can assume an embargo will be in place but news may be released around 10.30am Monday 30th (GMT).

The launch is expected to reveal a low-cost 12 megapixel ‘full frame D300′ based on the sensor used in the D3, with a D100-type body like the D300. It may also preview the D3X, a full frame 24.x megapixel D3-type body using the new Sony high resolution full frame sensor.

We had early information that Sony would launch new products in June, which now has one day to go. The 58 flashgun may have been the only launch for June. A possible clue to imminent roll-outs may be that new Sony point of sale cabinets have space for products which the dealers don’t yet have! The 24-105mm f/4 G SSM has already been leaked but we can expect two more key lenses in the wide angle and medium tele zoom ranges. Rumours of a June 30th launch may apply to the Nikon conferences, not Sony.

My bet is that the first we may actually see of some new items for sale will be in the window of Foto Gregor, Cologne, around September 23rd. We shall be at photokina from the press day on September 22nd - watch this space!

- David

Increases in pixel count are often dismissed because to ‘double’ the resolution of a 6 megapixel sensor you would need 24 megapixels. Indeed, to double it linearly you would - but the human eye judges density of detail on an area basis.

Here’s a question which came in to my email just now:

“Could I process a RAW file in Photoshop to achieve a similar effect as if I had used a Polaroid lens filter?
Or would I be better just using the Polaroid filter?”

The answer is that you can never imitate the effect of polarizing light (which changes the way reflective surfaces look, and deepens or lightens the sky blue according to the zone of the sky relative to the sun’s position. But you can use Adobe Camera Raw (CS3 versions) to deepen skies you never thought could be rescued.

The introduction of a £399 (street price, RRP £449) DSLR with 14.2 megapixels – with or without a useful type of Live View – should have been applauded by reviewers. It’s the single most important point about the camera. No other DSLR approaches this image size and resolution at such a low price.

Now that there are five Sony Alpha DSLR bodies in circulation, with many owners of the original 2006 Alpha 100 considering a replacement, the differences between this ur-Alpha and the 2007-8 generation of Alpha 700, 200, 300 and 350 need examining.

USERS of the Nikon D3 downloading the latest firmware update have found information strings referring to the D3X and listing the file sizes the forthcoming camera will produce. The sizes match the pixel count of the Sony full-frame CMOS sensor due to be used in the ‘Alpha 900′ Sony full-frame body.

The launch of the Alpha 350, with its small 0.74X viewfinder, makes a proper eyepiece magnifier attachment an essential addition to the Sony accessory range. Olympus, Nikon and Pentax all have such magnifiers, which permit a full view of the screen for most wearers and make all the difference to the manual focusing and general comfort in composing shots. We tested two devices, one of them the highly affordable Seagull 1x-2.5x right angle finder, and the other Olympus’s ME-1 1.2X ocular magnifier.

The Sony Alpha 350 14.2 megapixel DSLR pioneers a new type of Live View, related to Olympus’s original Mode A of the E-330 where a beamsplitting arrangement allowed a video CCD to view the actual focusing screen of the SLR system.

Moving a DSLR - preferably without vertical grip because of the further imbalance created - to portrait format shooting on a small tripod ballhead produces an unstable arrangement where the head is stressed. The camera may sag unless the head is tightened, and if the lens is heavy, it may also unscrew itself from the normal tripod bush tightening. A L-bracket is the ideal solution for mounting your camera for a portrait session or any other situation where most of the images will be vertical.

There’s a lot of controversy right now about whether or not the image structure of the Alpha 700 files at very high ISO - mainly 3200 and 6400 - is as clean as raw processed results from other comparable cameras like the Canon 40D (does not offer ISO 6400), the Olympus E-3 (does not offer ISO 6400) or the Nikon D300. At the heart of this is the way different raw processors handle file conversion, and most specifically, the current performance of Adobe Camera Raw 4.3.1.

The latest full release - no longer Beta, and accepting previous C1 Pro activation keys for unlimited access but otherwise now on 30-day trial - of Capture One v4 now handles Sony Alpha 700 raw files and transforms high ISO rendering in comparison to the industry standard Adobe Camera Raw.

The prototype ‘Flagship’ Alpha DSLR, with its 24 megapixel sensor, may offer live view - almost certainly off the sensor. Sony prototype (it is still officially in that state) product photographs reveal what looks like an extra button or sliding switch - and at least one rumour states that this is definitely for live view.

NOT everyone will want the live view offered by the A300 and A350 - it does turn out to be more or less as we suggested, a secondary optical path adjacent to the eyepiece inside the prism housing. I’ll explain here exactly what the implications are, and why a future model - let’s call it the A500 - offering the 14.2 megapixel sensor without the live view may be worth waiting for.

In mid 2007, rumours of a 14.8 megapixel Sony sensor came from the usual Far Eastern ‘inside’ sources. As a full-frame Alpha model (the so-called 900) had been previewed at PMA 2007, it was possible this megapixel count related to full frame, or near-full frame. It now looks as if it may have been a leak of development for currently rumoured 14.2 megapixel (active) Alpha 350, which is an APS-C sensor camera.

Sony say that the Alpha 100 has a 230,000 pixel rear screen and the Alpha 700 has 920,000 pixels. What they don’t make entirely clear is how many individual R, G or B pixels are used to create each ‘pixel’ of the image (complete RGB). In fact the 920,000 pixel screen is VGA - 640 x 480 - in display resolution, which is 307,000 pixels not 920,000. What is going on? We took some macro images to show you.

A mention of 16mm Minoltas reminded me that a few years ago I found a perfect kit - without outer box or instructions, sadly - at an antique fair. A daylight developing tank for the film turned up in the closing-down stock from Konica Minolta’s warehouse. I decided they should really find a new home together via the normal eBay route, but before they went, a studio shoot was needed to record them for our virtual museum.

On January 5th, Photoworld was lucky enough to be able to attend the dress rehearsal and official photo-call for the new Cirque du Soleil production at the Royal Albert Hall in London, and to put the Alpha 700 through its paces for high ISO fast action stage show capture. This article with large reproductions of the images appears in our Photoworld issue due out later in January.

SEASON’S BEST wishes from David and Shirley here at photoclubalpha! You know how the pursuit of photography can take over your plans? Well, we were offered a short break in Portugal (inspection visit terms, 2 hours wasted time and iron constitution to resist sales pitch) and took it up for the week before the holiday. A chance of some sunshine and different subjects for the Alpha 100 and 700! Of course, it rained so hard the entire Algarve coast was flooded, and the only sun we saw was the sunset as we landed. However, back at home, the world was in wonderland mode even as we drove back through the Lake District with the moon rising over frosty hills lit by the last pink light of the sun. The next day, Kelso was in full sunshine but -7°C and freezing fog had coated everything for three nights in pure white. So here are our Christmas cards from Kelso, courtesy of the A700, 16-80mm, and Minolta polarizer.

It’s the same on every web forum - if you post a digital picture which would be acceptable to a photo library or professional buyer, half a dozen grumpy one-liners will come out saying ‘That don’t look sharp to me’ or ‘there must be something wrong with your XXX’ (fill in D300, A700, E-3, D3, 40D as required). Then someone posts a hugely messed up image and people say ‘Wow! What sharpness!’…

OUR local dealer, Hector Innes in Kelso, used to be a totally Minolta-dedicated retail shop. Hector and his son Alastair have always been Minolta photographers, and Alastair currently uses the Dynax 7D as weapon of choice for weddings. Their shop is one of those few remaining which combines a professional studio (ABIPP, in Hector’s case) with processing and printing, and retail. On the wall there’s a Minolta clock from two or three changes of logo ago, and on the counter, I found a well-used and yellowed Minolta lens chart mat.

THE specifications of the CMOS 13.1 megapixel, 12.3 effective megapixel sensor used in the Sony Alpha 700 and the Nikon D300 continue to provoke discussion. On the one hand, we have Sony’s own announcement of the ‘commercialisation’ of the IMX21 sensor in August, preceding Nikon’s advance publicity by a few days. On the other hand, we have people who refuse to believe that Nikon, who openly bought Sony CMOS technology to create the D2X, is not entirely responsible for its own sensor.

I HAVE set up a pBase gallery with a large number of comparison studio shots, all the way from ISO 100 to the maximum, using the A700 and Nikon D300. It has some minor discrepancies in shooting conditions which I need to explain to anyone visiting the gallery.

LET’S not get too acronymical about all this… or indeed moanious! After posting today’s earlier piece on DRO Advanced, I’ve been asked for some further examples of the potential for processing the raw file using Sony Image Data Converter, which includes DRO. Or so it says on the box.

BEFORE we publish a fuller assessment of the Sony Alpha 700, here is a taster of just one improved function, the Dynamic Range Optimisation (DRO) system built into the camera. For social, wedding, sports, music, theatre, news and event photographers DRO Advanced Manual settings are a real magic bullet zapping the bugbears of excess contrast, poor lighting, and inadequate flash penetration.

I’m still testing the Alpha 700 and still struggling with aspects of image quality, notably the failure to get much wow factor from straightforward shots in good light. It seems easy enough to get exceptional high ISO images, of the type they are expected to be, but even then many examples seen are marred by a very coarse noise structure.

ON OCTOBER 10th I left the UK London press launch complete with an Alpha 700 review camera. I’ll be covering the many aspects of the Alpha 700 performance in later reviews, but this camera is so good I wanted to get just something out to you right the next day.

SONY, following their entry into the serious DSLR arena with the Alpha system inherited from Minolta, is to become the sponsor of a high-profile World Photography Awards salon and event with a 2008 presentation ceremony in Cannes and support from some of the biggest names in independent fine photography.

SONY UK is finally to reveal the Alpha 700 to the UK press on October 10th, over a month after the European launch and three weeks after the first Alpha 700 cameras began shipping in other parts of the world.

THE ALPHA 700 cameras tried in Italy by press representatives, including Paul Olsen of Dinside Data in Norway who sent us the raw and JPEG files for the image used here, may or may not have been pre-production samples. Some cameras which were felt to be poor had over 1,000 exposures recorded before the event. Olsen’s camera appears to have been new, recording frame counts in the 40s during his shoot, and may be a final production sample rather than one of the much-used demo bodies.