Photoclub Alpha

Sometimes earlier this year, early Spring I think, I had a vivid and detailed dream during a slow waking-up hour. It was the kind of dream which feels rational not random. I knew what I was doing in it – in control!

This time, I described the dream to my wife and son; he knows a lot about this stuff, and thought it was an accurate dream. It was possible. Now Sony is about to release the camera I was using in the dream.

Here is the dream.

I am walking across a kind of pier or boardwalk construction at the edge of water. It’s not in Britain. It’s warm and sunny, and it could be in the USA. The boards are raised above what would be the shore, and there are wooden buildings left and right of me. Ahead, I can see the lake water, and boat moorings with a jetty. To the left of me is the largest building, which is a shop or museum; something to visit. There are ornamental shrubs placed on planters or pots, and there are some notices or signs on the building. To the right, the wooden building is functional; it could be a boat house, a yacht club, or something like that. There are pine woods beyond.

My job is to move to the four corners of this scene, and other positions, taking care to make a complete set of images from a range of camera placements and angles. I’m using a wide-angle lens, and my camera is equipped with GPS which records the exact position and orientation of the camera for every shot.

I do not worry about people in the pictures because the software will ignore them, nor about the light, but it is a beautiful day anyway. I am taking the pictures for a project and this is paid work. This is actually what I do for a living (in the dream). I am visiting hundreds of the most frequently-photographed places in the world, and producing a set of pictures of each one.

But it’s not what I am doing which is the interesting bit. It’s what I know about it. In the dream, I have all the knowledge about what I am doing that I would have if it was real.

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Time and space

Here’s how my pictures are being used. Each set of images with its GPS coordinates is fed into a system which constructs a 3D model of the environment. It is capable of recognising identical elements seen from different angles, and uses the GPS data to help identify them. With two 2D views of a building from different positions, it can use the focus distance and lens angle information to compensate for small inaccuracies in the GPS data, and wireframe the exact design and scale of the structure.

It identifies textures and objects like foliage, text on signs, clouds, and people. Once my entire set of images from this place has been processed (I am aware they are being transmitted as I take the pictures) new photographs which never existed can be created. A virtual camera can be positioned anywhere within the area I photographed, and my few dozen still images from fixed positions enable a new view to be constructed with complete accuracy.

I’ve used the result (in my dream) and it has incredibly high resolution because of the correlated image information. It’s a bit like Sony’s multi-shot or HDR or panorama technology, but instead of aligning two very similar images, it maps the coincident key points of entirely different views of the same scene. Where a walk-through VR allows viewing all angles from one position, this allows viewing any angle from any position.

And it goes beyond that to add a timeline.

The system I’m working for gathers millions of photographs from people all over the world. I’m photographing these key locations because they are the most photographed in the world. Camera phone images now record GPS data, and also record the date. So (at this future time) do most digital cameras and video cameras.

The system can find images matching every location by trawling the web; from Flickr, Facebook or whatever is out there. It can analyse the images to see whether they actually match the location they appear to be from. For every location, the system gathers in as many more pictures as it can find.

The first result of this is more detail. The second is that the viewer can change the season or weather conditions in which the location is seen. It can be viewed at night, in snow, in rain, at sunset; whatever. My image-set provides the framework, but seasonal changes can be created from the ‘found’ images of the place.

The second result is the timeline. Old photographs of these places have been fed into the system. For some popular spots, it’s possible to track the environment backwards for over 100 years. Trees change size, buildings appear and disappear. By turning on ‘people’ (which the software can remove) the crowds, groups or individuals who were in the scene at any time can be shown. And the 3D environment is still enabled because all the old photographs are co-ordinate mapped to the new information.

I do not have to work all this out in my dream, because I already know it. I am working with this awareness. The entire thing is known to me, without having to think about it. I also know that future pictures captured from internet will continue to add to the timeline and the ‘people’ function, so in five years’ time the seasons and the visitors to this place can be viewed almost by the minute.

The dark side

Because this is a dream, I do not have to think or rationalise to get this understanding; it was included with the dream. As I wake up, I realise what I have been dreaming and then make an effort to ‘save to memory’. That also kicks in the thinking process.

I start to wonder who was hiring me to do this survey-type photography, because in the dream that is one thing I don’t know. I realise how exciting it is to be able to use this Google-Earth or Google-Street type application to view not only any part and any angle of these tourist locations, but any season or time of day, and many past times in their history.

When I describe it to him, Richard suggests it’s probably Microsoft. He likes the collation of web-sourced images covering seasons, and maybe decades of past time. He thinks it is all possible and the core technology exists right now. I should patent it and give it a name!

But there is one thing which I understood just as I was waking up; the system can recognise people. Not just as people to be ‘removed’ from a scene or turned back on; it can recognise faces. The movements of one individual can be reconstructed within that location, and it can use a ‘cloud’ of gathered pictures taken at the same time to do so. This is not just virtual tourism and virtual history. In other locations – not beautiful waterside boardwalk quays – it is surveillance brought to a new level.

Sony A55 and A580

Sony’s new models with built-in GPS are the first cameras which will record the data my dream required. The GPS is not the typical latitude-longitude only. It also records height above sea level (elevation) and the direction the camera is pointing (orientation). The camera-data information records the focus distance and point of focus, and the angle of view of the lens (focal length), the time, and the measured light level and apparent colour temperature. Maybe in the A55 the spirit level function also records horizon tilt and position.

OK, the camera I was using in the dream was more like a 5 x 4 on a tripod. But that could be just a dream – like the giant fish which leapt on to boards and brought the jetty crashing down into the water a second before I woke up…

- David Kilpatrick

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It’s a funny word to use, because the mirrors involved are transparent and not translucent (which implies passing light but not in an image-forming manner). Translucent means semi-opaque, letting light through in the way that an opal perspex sheet or Kodatrace foil does. Transparent means something you can see through.

But now, thanks to the wonder of changing language, translucent is also going to have to mean transparent, or semi-transparent. Pellicle, semi-silvered, whatever term you wish to use.

Unfortunately, for this writer the misuse of the word translucent stands as one of the biggest schoolboy howlers ever imposed on the entire world by the ignorance of a corporation. It’s such a glaring error I can hardly bring myself to use the term – others, like Dave Etchells, have happily assimilated the new meaning into their technical lexicon. And as the video above shows, they’ve made it into a trademark, a permanent part of the future of this technology.

Wiki, and pretty well every dictionary ever published, disagree with Sony’s imaginative use of a word from which they have now removed its exact meaning:

Wikipedia: “Transparent materials are clear, while translucent ones cannot be seen through clearly.”

Merriam-Webster:

trans·lu·cent/transˈlo͞osnt/

Adjective: (of a substance) Allowing light, but not detailed images, to pass through; semitransparent.

(the semi bit of semitransparent cited here seems to mean semi-detailed, vaguely delineated – not slightly darker; otherwise the primary definition of the word is diluted).

There has been some heated argument on dPreview forums about this post of mine (my view is shared by many). No-one has made the point that words evolve to have useful exact meanings. Transparent and translucent are words which may once have shared a common poetic meaning in 18th century descriptive writing, but whose meanings were refined with the progress of science and technology. This process in the course of over 200 years resulted in a useful distinction between the meanings of transparent and translucent. Sony’s commercial misuse of the word Translucent is damaging to the English language and to the scientific and technical lexicon; it predisposes future confusion about the meaning of the words.

It is also a fait accompli; there is no turning back, since Sony’s corporate stance is much like that of Mrs Thatcher; no u-turns and never admit to be being wrong. They have also no doubt invested hundreds of thousands of dollars in the consultancy involved, and the registration of the term as a trademark, the creation of branding artwork.

They could have branded the mirror TransLumina® or, more usefully, just called it a transflecting mirror – transmitting-reflecting. That term is already used to describe the sort of mirrors used in ‘Big Brother’ with cameras behind them.

As to whether it’s a true pellicle mirror (a thin stretched film of vacuum coated Mylar or a similar polymer) no-one seems to be clear. It moves out of the way to allow sensor cleaning but could be relatively fragile. It certainly does not need to move to allow 10fps (Alpha 55) or 7fps (Alpha 33) continuous shooting. Sensor dust is often created within the camera by wear and tear on the shutter mechanism, so access for cleaning is essential and the mirror can not be designed to seal the sensor chamber. The Alpha models still have a shutter, that’s the next thing we shall see eliminated. That old rumour of the 15fps silent shooting Alpha DSLR seems to be more than a rumour; we are almost there.

For many users, the critical advantage of all four new Sony models will be HD Video with sensor-based in body image stabilisation. This will enable all kinds of lenses from macro to ultrawide or soft focus, manual adaptations and Minolta AF legacy glass to be used for video with confidence.

Welcome back the circular polariser, unlike mirrorless ILC cameras these new models will not allow the use of linear polarisers without AF efficiency reductions, but exposure should be unaffected as the sensor itself provides the metering with 1200 zones.

This will be one of the tests reviewers need to carry out on the new pellicle mirror Sony Alpha 33 and 55 models – to confront them with not only polarising filters, but conditions in which light is naturally polarised. How will they render sky gradations or reflections off water?

Two further Alpha models are being released, which are essentially updates for the 500/550 – the Alpha 580 which will hit the shops before the winter buying season, adding 16.2 megapixels and a 15-zone AF module, HD 1080p video and (non-video) Contrast Detect AF with all Alpha mount lenses. The 560 will not arrive until some time in 2011, using a 14.2 megapixel sensor.

Versatile features

More of a landmark than a benchmark, the inclusion of 10fps continuous shooting with active phase detect AF and 16.2 megapixel file size in the Alpha 55 is unprecedented and possibly unforeseen by competitors, in this class of sub-$1000 consumer DSLR (let’s continue to use the term, since they are clothed as DSLRs). The dual format card drive supports the 30Mb/s transfer rate of the latest Class 10 SDHC cards and Sony’s fastest MemoryStick Pro Duo generation. The HD video also has a reasonable 17mbps  bitrate.

The new technology has been well documented before the launch, but the fine detail of the new cameras is now clearer. The Alpha 55 is some markets will incorporate GPS geo-tagging for stills and videos (we wait to see whether raw files are tagged, and how accurate this is – the accessory Sony geo-tagging system available to date has only permitted JPEG tagging, and has not been accurate enough to know which street in a town the picture was taken in).

Rumours that the 33 and 55 bodies would be SSM/SAM only, with no internal focus drive, were unfounded as Sony states clearly that both are compatible with ‘the full range’ of over 30 Alpha lenses (indeed, the product shots of the 33 and 55 alone show the 18-200mm SAL DT lens fitted). The 55/33 1080i/60p (1080p in AVCHD camera archive format) video claims ‘smooth, precise’ phase detect auto focus during video shooting, but makes no reference to this being limited to in-lens motor lenses. Therefore we can assume it works with in-body AF drive lenses as well, and you just have to edit the soundtrack.

The new ISO 25,600 mode does not imply a radical sensor change as it is only available using Multi-Shot Noise Reduction, which requires a burst of 6 frames at the 10fps/7fps native maximum speed of the camera, and can not save raw files. The ISO range of the sensors is 100 to 12,800. Is this range quoted as absolute, or after accounting for the semi-silvered mirror light losses? If it’s the range before allowing for the mirror, then the 14.2 megapixel sensor of the Alpha 33 may be more like the Nikon 3100′s sensor than the NEX (ISO 200-12,800) is.

Thom Hogan has shown pixel dimensions and size data which support Nikon’s claim to have an entirely different sensor fab line of their own, compared to the A550/NEX sensor. But how about compared to the A33/560 sensor?

The 55′s new 16.2 megapixel CMOS will probably appear in the forthcoming Alpha 700 successor, which it is believed will form the main Sony exhibit at photokina (Cologne, September 21st-27th). Both models have a new 15-zone AF sensor with three cross sensors, but not f/2.8 sensors – all are designed to operate at f/5.6 virtual aperture. However, there is a hidden clue that the cross sensors may be f/3.5 capable, as the high-speed shooting modes with continuous AF set f/3.5 by default on any lens capable of this (if the lens is, say, only f/5.6 then the largest aperture is always set). Setting f/3.5 implies that this confers an advantage in focus sensitivity over f/5.6, f/4 or any other particular aperture – and that f/3.2, f/2.8 or wider would bring no benefit. That points to some of the sensors having an f/3.5 virtual aperture.

The new cameras are known as SLTs – Single Lens Translucent – instead of SLR. See my intro. Did they have no English speaking staff on their team? I’m sure there is a German word which describes their mirror correctly. I’d rather have the right German word than the wrong English one. Ah well, as the bloke leaning on the pub bar says, durchsprung vor technik…

Confusing aspects – Auto HDR is said to be available in P/A/S/M modes. I guess in M mode it must leave the aperture alone and change just the shutter speed. Regular bracketing is still limited to a disappointing 3 exposures at 0.7 EV intervals, maximum.

But you’ll love the direct D-Range button which gives access to D-Range and HDR options directly, and the direct Finder/Screen button which toggles between using the very high resolution EVF with its ‘virtual 1.1X’ 100% view of the subject – effective visual scale, larger than the Alpha 700 and larger than any previous Alpha digital model except the Alpha 900 and 850. That’s one of the benefits of the EVF, a relatively tiny display is viewed through a high magnification ocular and ends up with a ‘window’ on the world which beats the tiny tunnel vision of optical finders. Technically it is very similar to the last EVF produced by Konica Minolta on the Dimage A200, with the benefit of five years’ further development. It has the same 60Hz refresh rate and visually almost raster-free RGB.

Where the A550 and its earlier stablemates vary slightly around a viewfinder with an effective 0.50X scale (relative to a full frame 100% view using a 50mm lens), the A55 and A33 provide an effective 0.73X and that’s impressive. The ocular is set well back (remember the Konica Minolta A2, and the Sony Cybershot DSC R-1?) because it is a telescope design. This also gives it a very narrow range of possible eye positions, a common feature of EVFs. The eyepoint is close, and you must position your eye precisely.

The rear screen uses the same type of (Schott?) reinforced glass with (3M?) resin gel adhesive as Canon’s 7D – this totally seals to the LCD module itself eliminating air gaps, and improves contrast. It is a technology first seen in the 7D and becoming standard across the industry though the NEX has shown Sony to have the best implementation so far. It is scratch proof, by the way, and it can be cracked by impact like any other screen.

The tilt-swivel action is borrowed directly from the Nikon D5000. In fact, it’s so identical in articulation it even included the amazingly silly front facing mode where the screen is obscured by your tripod, hanging under the camera and preventing it from being placed on a flat surface for self-portraits or videos. But it has the same benefit as the Nikon, the screen can be flipped to face the camera and protected completely while you use the EVF.

Functions familiar from the NEX including Sweep Panorama and Sweep 3D Panorama are built-in and accessed from the main mode dial, which also provides physical settings for all the main modes. Depth of field preview is restored – with the usual button – because is can now actually work. It was always useless in real terms on optical viewfinder cameras, as the focusing screen never represented wide apertures correctly.

Now, with an EVF, for the first time ever an eye-level Alpha gives absolutely perfect and precise previewing of depth of field and bokeh effects whatever aperture you are working at – even at f/1.4, which was never possible and still isn’t with the A850 or A900 for that matter (which is why their Preview mode is useful).

You can also preview the exact image appearance. By pressing the AE lock button, the auto gain of the EVF or rear screen are turned off and replaced by an exposure-compensated view. So if you dial in -1 EV (using the adjacent dedicated button), and change the WB, and use a different picture style with more saturation and contrast just pressing AE-Lock will immediately preview your image with these adjustments applied. And you can enlarge in the usual two steps to check auto or manual focus.

The finder and screen also have a Nikon-style two axis spirit level (flight simulator horizon) display to help you get your horizontals straight and your verticals parallel. It can be activated on either, and does not have to appear on both simultaneously.

For movie makers, the binaural stereo microphones are a great move. Even on the NEX, the two small top aperture mics give excellent stereo. The 33/55 mics are placed either side of the ‘prism’ housing, rather like the ears on your head. This will give the stereo image created by these cameras a really natural quality. Natural, that is, to a pygmy marmoset monkey… but still, I will wager, the best stereo image of any DSLR/HybriD. And Sony provide a stereo 3.5mm mic jack socket, though without any manual control of gain levels.

I’m sure we will have to buy the A780 to get that. Click the picture above for a big version. Who says Sony does not have a range to match Nikon or Canon, whether or lenses or of cameras? From the left, the cameras show the current range before we even see the magnesium-bodied Alpha 700 replacement arrive. A900, A850, A580, A560, A55, A33, A390, A290.

- David Kilpatrick

Read Sony Press releases and full technical data:
Alpha 33 and 55 Press Release
Alpha 560 and 580 Press Release

Sony, which has a UK event taking place on Thursday July 15th showcasing new products for the Christmas market, has surprised us by launching its NEX mount HD camcorder with 14.2 megapixel CMOS sensor and 18-200mm OSS interchangeable lens much sooner than anyone expected.

Sony has introduced a firmware update, allowing consumers to shoot in 3D on the a NEX-5/NEX-3 interchangeable lens cameras.

The free download from the Sony Europe support site (http://support.sony-europe.com/dime/DSLR/DSLR.aspx) adds several performance enhancements including 3D Sweep Panorama. This exciting new technology means it is now possible for consumers to capture dramatic panoramic images in 3D, all with an extra-wide field of view.

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The European press launch

David Kilpatrick recorded the proceedings at Le Meridien Lav Hotel, Split, Croatia on March 11th 2010 using a Zoom H2 portable digital recorder. Shirley Kilpatrick transcribed the audio, with subsequent editing to translate verbal output to read well as text. This is a multi-page document please use the PAGE navigation at the foot of each page to continue reading. It is a very long document.

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The Sony NEX-3 and NEX-5 cameras are ultra-slim interchangeable lens models, referred to as ‘ultracompact’ or ‘compact system camera’ models by Sony. The lens flange to film distance is only 18mm, compared to 44.5mm for the Alpha system and very similar figures for all popular SLR brands.

The Leica M and screw mounts, with under 1mm difference between them, are 10mm greater than this at around 28mm. Screw mount Leica lenses can be adapted to M even though there is only 1mm difference. With 10mm difference, almost any lens ever made for any camera – even the Robot system, original Contax, maybe even the Pentax 110 SLR – can probably be adapted to fit the E-mount. In fact it will accept 16mm and 35mm (half-frame) ciné, C-mount CCTV lenses, and subminiature camera lenses.

You name it, the NEX will be able to do it. Telescopes, microscopes, endoscopes, whatever. And Alpha lenses, and MD lenses. There is even enough ROOM with over 25mm the spare to fit a true retrofocus format reduction converter – that is, a 0.66X optical unit which condenses the image from a full frame lens to fit the APS-C sensor. It is already done in the video and ciné world, and these converters have a wonderful bonus. Your 24-70mm f/2.8 SSM lens becomes, with a 0.66X reducing converter behind it, a 16-46mm f/2. That’s right – the same way a teleconverter loses you a stop or two, a format reduction converter gains you a stop.

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SPLIT, Croatia, breakfast over - Sony Europe presents the new NEX-3 and NEX-5 mirrorless, HD video capable slim interchangeable lens APS-C digital cameras. This has been a launch anticipated by almost complete and accurate leaking of the specifications of the two cameras. Sony UK also provided advance information to all dealers, including pricing, before the press launch – allowing retail websites to have full data up and running as from May 11th.

Toru Katsumoto presents his team’s latest offering (he holds a silver NEX-3)

The entire system with accessories is to be available in June at once, no waiting for anything except the 18-200mm lens which will arrive a month later. Edit: the brochure says ‘October’ for the 18-200mm, at the presentation it was said that it would follow in a month or so. October is four months or so.

SONY has shown itself to be lagging behind the competition as we reach the third bend on the second lap of the development of HD-video capable DSLRs. At PMA 2010, nothing ‘real’ was shown and the closest they came to further launches in the Alpha range was an advanced pre-production prototype of a 24mm f/2 Carl Zeiss T* ZA SSM.

But Sony may prove yet to be the tortoise – or perhaps to be Brer Rabbit. They could make the finishing line, the goal of a truly useful video DSLR, before Nikon/Canon/Pentax/OlySamPanny get there.

The Alpha System celebrates its Silver Jubilee or 25th Anniversary this month – though left uncelebrated by the inheritors of the Minolta AF legacy, Sony. They have no reason to draw fresh attention to the age of the system, as in four years they have taken it the same sort of distance that Minolta took the world’s first AF system in the late 1980s.

It’s not only Alpha’s 25th birthday. This is also the 25th birthday of modern AF SLR systems – all of them!

This is a multi-page article. See the links at the bottom of the page to Continue Reading after each page.

For Photoclubalpha and the historic Minolta Club of Great Britain, the anniversary does matter. A good many of you out there have been members since the launch of the system, often using the earlier SR and X manual focus systems before that. We still have a 1985 Minolta 7000AF and it’s still working just as it did when new.

25 years before the first Minolta SLRs appeared – a folding Minolta Six of 1935

I don’t mind showing my age to make a comparison. I was 11 in 1963 when I took my first pictures with an SLR camera. My father had bought himself a Pentax S3 – and the camera it replaced was 25 years old, a pre-war Zeiss Ikon Kolibri collapsible 16-on-127 model.

When the Kolibri was made, 127 was the ‘vest pocket’ format of choice. 35mm was on the rise, but 35mm SLRs had not yet arrived. They were as much a thing of the future as digital SLRs were when the Minolta 7000AF was launched.

But within that 25 years, there was hardly a single camera system made with interchangeable lenses that did not become obsolete. Only the ‘frozen assets’ of the cold war kept some systems, like the Exakta bayonet and the Praktina, alive. New brands were launched, from the British Wrayflex and Periflex to the Italian Rectaflex and many German oddities. It was not unusual for an entire system to be come and gone within a few years.

Even in the following quarter-century, the high years of the Japanese 35mm SLR, the succession of lens mount changes was bewildering. Independent lens makers like Tamron and Sigma were forced to make systems using interchangeable mounts not just because the public wanted it. A dozen or more mounts were made for every lens and in the 42mm screw thread fit alone there were endless variants – Praktica LLC (Pentacon Electric), Olympus FTL, Pentax ES and more.

It was more or less a 25-year cycle – the SR system was announced in 1958, and really got underway by 1960. It was to be another quarter century before the AF system arrived. We are now a further 25 years on – can we expect a totally new camera system, once again, in 2010?

Minolta’s SR bayonet mount, introduced in 1958/9, actually remained basically unchanged all the way through to 2005 when the last manual focus model, the X-370S, was available. It survives even now as a mount popular in China where the Seagull range from Shanghai Optical includes Minolta fit models. That mount only ever had one major revision, to add a linkage for open aperture TTL metering. The introduction of programmed exposure and shutter priority was cleverly enabled by using the existing design of lens mechanism and improving its accuracy, while adding a simple reference lug to the ƒ-stop setting ring.

Nikon’s 1959 F-mount proved similarly easy to improve without any basic modification. Both these bayonet mounts celebrated half a century of production in 2008/9 – another landmark, which Nikon was able to celebrate but Minolta of course could not.

The press release from Sony this morning (Tuesday, January 5th) confirms the proliferation of entry-level bodies in the Sony Alpha DSLR range, and the continued emphasis on smaller cameras to suit upgraders from consumer digital cameras. While this leaves Sony in danger of being seeing as a Jack of one trade and master of none, and will not satisfy those waiting for an Alpha 700 replacement, it will no doubt increase market share and allow Sony time to create something worth investing in for later release.