Photoclub Alpha

Canon has today officially announced the 15.5 megapixel APS-C EOS 50D. This is a 1.6X factor sensor, packing a density well in excess of the Alpha 350 - if Sony was to make an Alpha with the same pixel density it would be 17.5 megapixels, and a full framer would be 38.5 megapixels.

At the end of September 2006, I set off for a quick visit to photokina in Cologne, having parted company with Icon’s am-pro magazine ƒ2 and not really needing to report on the whole show in detail. Here’s the report I wrote then, with photos, and some thoughts for the 2008 show.

The latest release of Adobe Lightroom, v2, handles all Sony Alpha and earlier KM digital camera raw formats including the Alpha 700, 200, 300 and 350. It is also updated, along with the final release of Adobe Camera Raw 4.5, to handle Nikon D700. Because Canon appears to have left their filetype identical to the A400, their new 1000D was recognised immediately by ACR even in 4.5 beta version.

This article was originally published in Photoworld magazine April 2008. It discusses the reasons for choosing between the 18-70mm, 16-105mm, 16-80mm, 18-200mm and 18-250mm kit lens choices for the Sony Alpha DSLR system and has been updated from the original text.

One of the problems with the Alpha 350/300 is that the Live View is linked to the settings when you use Manual exposure. It provides a form of metering, a relatively accurate preview of under or over exposure. This makes it impossible to use Manual with studio flash (AC mains strobe) setups. Currently, there is no menu setting to turn off ‘exposure preview with manual’ and enable ‘auto LV gain with manual’. But there is a solution.

The parallel development of Carl Zeiss lenses for Sony (AF lenses in the Alpha mount) and independent manual focus lenses for other makes continues. The latest CZ design is a revision of the classic 18mm Distagon last seen in the Contax system, optimised for colour balance and reflection supression with digital SLRs.

Sony has announced the September introduction of the most powerful flash yet for the Alpha system, which incorporates a brand new body design allowing optimum bounce flash illumination regardless of how you hold the camera.

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.

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.

Our cover photo for the Spring 2008 issue of Photoworld was taken with a Tamron 70-300mm zoom costing less than £120 from most larger retailers or internet shops. The reputation of the lens meant we had to take a look at it, because the current choice in the Sony range is limited to one ‘kit’ 75-300mm costing £179, and the new 70-300mm G SSM lens costing £600.

Today I took delivery of a Sony 70-300mm f/4.5-5.6 G SSM lens. There is no doubt this is the best built Sony SAL lens I’ve handled (the CZ 135mm 1.8, 85mm f1.4 are a class above again). It weighs over 800g with its lens-hood, which is one of the most efficient deep tele hoods I’ve seen.

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.

WE trialled a ZMags version of the January 08 issue of Photoworld here. We then looked at Uniflip. However, all these places want a few hundred dollars to leave a slightly adjusted Flash or Java version of a PDF we create, on their server for 12 months. The ZMags trial is now removed and after testing Uniflip, it was clear we had no reason at all to use this service either.

You can simply download a modest sized PDF (72 dpi screen res) of the January08 Issue here instead…

- David

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.

The Sony DSLR A200 is now on sale, following the end of Alpha 100 production. Although it is without any doubt the Alpha 100 replacement mentioned by Sony executives in October 2007, when they first revealed that the 100 was no longer being made, it is not an exact equivalent and represents a mixture of upgraded performance and simplified specification. Because it has gone in two directions at the same time, the A200 poses a problem for A100 owners.

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.

We have a Photoworld day in Edinburgh on February 10th 2008, to which all Photoclubalpha registered members are welcome (it is strictly by prior arrangement, so please do not turn up on the day). It starts at 10.30am and ends around 4.30pm, and will be held at Edinburgh Photographic Society. There is a small fee for refreshments. Details follow.

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.

AT THE Consumer Electronics Show, Las Vegas, Sony has announced introduction of the new Alpha DSLR-A200 camera which has been the subject of some strange speculation but was known beforehand to be a replacement for the Alpha 100. This is the first time a DSLR has been launched to the world at this show, and Sony’s decision to do so sends a major signal out as to where they see themselves and the Alpha system in the marketplace. It is highly competitive in price and we have just ordered our body for £369 including VAT (£314 + VAT) plus £13 express shipping from www.sonystyle.co.uk. This is exactly the same price as we paid for our last Alpha 100 in summer 2006.

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.

After reading Andrea Nivini’s article in Italian Tutti Fotografi, December 2007, which launches an attack on Adobe’s Camera Raw plug-in and its handling of many camera types - but specifically, the Sony Alpha 700 - I decided to check out whether the December 5th release, ACR 4.3.1, fixed the problems.

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.

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.

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.