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

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.

The same converters also increase resolution, much as teleconverters reduce it. Zeiss can achieve 400 line pairs per millimetre from high grade 35mm format movie lenses when rear-converted to reduce on to 16mm or video.

Will Sony ever make such a converter? Do they even know that Zeiss have designs, and make exactly this type of converter for Arriflex and other systems via Angenieux? Do they realise that rear fitting format-reduction converters can also perform an AF function, allowing a manual focus lens from Nikon, Canon, Contax, Minolta or whoever to be mounted on a converter which has an ultrasonic AF mechanism of its own?

Imagine that – your 50mm f/1.2 Rokkor becomes an autofocus 33mm f/1.0 on the NEX. This is not blue sky thinking, it’s an optical practicality not a mere possibility. However, you don’t want to know the price of Zeiss converters, and for a system like NEX a universal converter might never be possible; it might have to be matched to the prime lens.

The NEX mount is almost as wide in the throat as an SLR mount; for some obscure reason, Sony chose to measure the outer diameter of the flange, which is not what matters, and came up with 62.6mm for the Alpha and 58.9mm for the NEX. Inner diameter of the bayonet, the bit which counts, was not stated. But it’s a wide throat and can cope with a huge potential range of adapted lenses.

Less of this ramble, and on to the plain vanilla – the camera.

Inside the camera there is a 14.2 megapixel CMOS sensor, capable of HD video and of course the vital live view and contrast-detection focusing on which the entire camera is based. This is fed to a 3 inch, 920,000 pixel TruBlack articulated rear screen and the user must compose, control and review everything on this screen. There are few buttons, no dials except a single control wheel, and everything is converted to a virtual control or a menu choice using a Sony-Ericsson developed graphical user interface.

The NEX5 camera, by some way the preferable model of the two, has a magnesium alloy body which matches the machined and brushed aluminium barrels of the lenses. It comes complete with a tiny camera-powered flashgun, screwed into an accessory slot on the camera top which has more contacts than a mere flash should need. Three, at least, must be for the stereo microphone audio interface which also draws Electret Condensor Microphone phantom power from the body’s battery.

At the end of less than 24 hours with the camera, I cleaned the white table on the hotel balcony and took a few pictures which will show you the camera in detail.

Here, you can see the 18-55mm f/3.5-5.6 OSS (stabilised) kit lens to the left; the camera body is fitted with the (raised) flash and the 16mm f/2.8 E-mount non stabilised wide angle pancake lens. In front is a 49mm fit lens cap (for either), InfoLithium battery good for around 350 shots, a 4GB MemoryStick Pro Duo MkII, and the lens hood for the 18-55mm.

The NEX baseplate view reveals the steel tripod bush set into the mag alloy casing, the lens release in a slightly unfamiliar position, the size of the grip and the location of the new Sony factory making this system – in Thailand. It was rumoured that these lenses would be branded as Zeiss. Having used these two, I can’t say they would ever have deserved that. Both are very sharp centrally but pretty soft at the edges unless well stopped down, and both have fairly strong CA. The central sharpness is excellent, about as good as you could expect, perhaps aided by the Contrast Detect focusing which is entirely free of back or front focus.

Here’s the body, which is 24.2mm thick at its thinnest point, with the lens removed – the sensor is exposed. But that’s how it normally is, whether switched on or off. Turning the camera off does not closed the focal plane shutter (30s to 1/4000th, X at 1/160th, vertical travel). Dust removal is not going to be all that easy with the sensor cover glass sitting so well shielded and recessed behind the shutter gate. When a lens is fitted, the sun can come in and focus itself on the sensor. What issues will that cause for anyone careless enough to leave a NEX with a 16mm f/2.8 lens on its back, with no lenscap, in tropical mid-day sun? As people sometimes do, dining or drinking outdoors?

The lens will afford some protection when fitted. The well-machined metal mount should not admit dust too easily. There are ten contacts on the E-mount lenses (note the legend ‘E-mount’ etched on the flange). They transfer EXIF information about the lens, power for the ultrasonic focusing motor which is a silent ring type, power for the aperture adjustment via a stepper motor, and command and feedback signals to make these adjustments. Enough of the protocol is shared for the E to A mount adaptor LA-EA1 to have been designed to operate SSM and SAM Alpha lenses. At the launch conference, Sony admitted their engineers had failed to get reliable focusing, so AF was disabled in firmware. They hoped that a firmware update would restore the planned AF functionality with in-lens motor Alpha glass.

The ability to change aperture during video shooting is only offered with E-mount lenses, and is disabled when A-mount lenses are fitted via the adaptor. Sony does not make it clear whether different apertures can still be preset, before filming.

This is one of the lenses which might have proved interesting on the NEX – the Sony SAM 30mm f/2.8 1:1 Macro. You can see the difference in scale and engineering approach. Note the AF/MF switch on the SAM lens – it’s the only way to over-ride AF on the Alpha bodies. The E-mount lenses are far superior, they have full time manual focus over-ride which is ultra smooth, just turn the focus ring at any time to shift away from the autofocused point. When you do this, the rear screen instantly and automatically switches to an enlarged view to aid manual fine focusing.

Here’s a close-up of the 16mm lens iris. Whatever shape of aperture is claimed, there are only seven blades (probably to keep the action very light) and that minimum f/22 does not look especially circular to me – much like any other lens with a very small iris diaphragm. The blades are oddly asymmetrical too.

Here you have the 18-55mm naked on the body. It’s a really good cosmetic match but you can see how large even this lens is compared to the camera. The 18-200mm f/3.5-6.3 which was not ready to be tried out is even larger. Note the position of the strap lug(s). They are placed down the body and angled so that when neckdangled or shoulderslung, the camera tends to hang with the lens aiming down and the screen facing up. This saves a lot of screen scuffing, gives quick access to the info there presented, and keeps the bigger lenses neatly placed.

Be warned, though, that you can’t expect to grab a shot from hanging position. If the camera is turned off, it takes a short delay to fire up and for the screen to brighten as the gain is adjusted (always from dark). If the camera is sleeping, first touch on the shutter button does the same, with the screen ready for use in a second or so. Then a firmer pressure acquires focus and re-adjusts the screen exposure; AF officially takes 0.3s, but I found you could easily have 2-3 seconds from the moment of raising the camera to being able to fire the shutter in confidence. I actually think my old Konica Minolta Dimage A2 is faster. I missed several candids and moving subjects when testing the NEX5.

This is just a shot with the petal lens hood fitted. You may notice that the 16mm lens, supplied without a hood, does have a bayonet as well as a 49mm filter thread. This is to enable two afocal front lens convertors to be fitted – the VCL-ECU1 is a 0.75X rectilinear converter, turning the 16mm into a 12mm ultrawide, while the VCL-ECF1 is a 0.62X fisheye converter creating a 10mm full frame curved view fisheye. Given that the 16mm is expected to be only around £200 (or much less in effect when bought with a body), and these converters are £100 and £120 respectively, a system will be no great weight on the pocket.

There is also an optical finder for the 16mm, which occupies the flash/mic shoe, and will cost £130. Eh?

Like the flash, shown above, it will use the 12-pin gold plated connector and thumbscrew to attach. But it’s not an electronic finder. No-one would answer whether this contact array will support an EVF attachment.

This is how you secure the flash, which stows by folding down flat. Raising it, as in this shot, turns it on.

This runs off the battery, which lives next to the dual-purpose card slot. Previous models have had twin slots. The NEX range uses a dual MSPro/SD slot which auto senses the type of card being used. An AC mains adaptor is available which uses a dummy battery and a cable emerging through a hinged portal in the battery door (above).

The rear screen is articulated very much like the Alpha 550, and does not turn to face forwards, or orient itself in any way to suit vertical compositions. It is very much geared to the landscape format trend created by video shooting, HD, mobile phones and so on. Though the camera has auto orientation sensing for photos, the display does not change like an Alpha and it’s not really designed well for vertical shots.

The downfacing position is pretty odd. It does not fold out in the usual way. I was able to shoot well enough holding the camera overhead. The screen articulation is, like the 550, a very rugged metal mechanism. It does not feel as vulnerable as many other (more versatile) swivel and tilt rear screens.

The GUI is exactly what GUI means – very much a graphical, not textual, user interface. The six main menu icons resemble mobile phone menus. You get to them by rotating the scroll wheel and pushing its centre button. Shortcuts are marked at the compass points of the wheel for outer rim press-clicks taking you to different options or changing the display mode. The LCD has a glass cover but Sony still offers both hard and adhesive protectors. I took photographs using the ‘Sunny’ brightness setting, not Auto. ‘Sunny’ really boosts the backlight well beyond the auto brightness maximum.

The Brightness/Color Menu includes the options for DRO+ and for HDR shooting. HDR is now three frame bracketing, with manual control up to 6EV span (plus/minus 3). The NEX has a very powerful new BIONZ processor and crunches 3 raw files into an HDR JPEG instantly – while also saving, at the same time, the middle bracketed exposure from your rapidfire 7fps burst as a standard choice. So you get two frames from your triple shutterburst, one normal, one HDR. There are also six-shot Night Scene and Anti Motion Blur modes, which synthesise a final low noise or minimum blur JPEG in-camera; I failed to test these, as the presentations made no real mention of them.

Here you can see the second shutter release, marked MOVIE. Press this and there is no waiting – filming starts immediately, so you either need to be in Continuous AF mode, or have pre-focused using the main shutter release. A second press ends the take. Unlike almost every other HD Video 1080p capable model yet made, the NEX5 will shoot continuously without clip length limits, up to around 29 minutes (filesize limit).

Select Shoot Mode, and an image of a virtual mode dial appears concentric with the control wheel. It turns in perfect sync with the wheel. So, without having a physical dial, Sony has given you one. Text information appears as you perform changes. Some more annoying repetitive cyber-advice can be turned off; other ‘tips’ are not optional. They follow you round for life.

The camera includes many functions aimed at happy young exuberant target-market users. I don’t think it is complete, as the Smile Detection menu has not made adequate allowance for Goths, neo-punks, or grumpy old folk with permanently inverted scowls. A future version for the legacy Alpha-owner generation should include ‘Not Frowning’ as a smile mode!

The Display mode change options include a semi-graphical exposure scale exactly along the lines of current Alpha models.

Alternatively, you can opt for a different set of info more aimed at the advanced user. I found that no matter what display mode I used, the screen became so cluttered I sometimes could not see parts of the subject I was keen to check for alignment, cut off or inclusion in the shot.

This – a very simple display indeed – was what I found most acceptable. It is interesting to note that with the exposure metered live from the CMOS, there was much less need for the plus-minus over-ride function using NEX. I was shooting raw, but even the JPEGs obtained alongside the raw files were pretty much perfectly exposed every time. For difficult subjects the JPEG-only shooter can use a three-shot HDR in-camera process, and this worked very well.

I have a gallery of 48 full size in-camera JPEGs taken during the photo shoot opportunity organised for the press, which involved two hours in sealed dirty-window ferry and bus plus half an hour wasted on a wine tasting (?!) session, for the sake of maybe an hour of pictures. They would have been better just bussing us into Split old city and telling us to meet later. Escorting a gaggle of journos round Hvar town was singularly unproductive!

http://www.pbase.com/davidkilpatrick/nex5_samples

48 full size in-camera JPEGs with peculiarly deficient EXIF data. Where it says 16mm, the 16mm was used. Everything else is on the 18-55mm. The NEX5 body was used.

The NEX system and the initial 3 and 5 model cameras needs much more writing about it, with many new functions and features. This has just been a small guided tour of the camera for you to see it in detail. We will be posting further reports as time permits, rush-blogging not being something I intend to do when there is so much detailed information to be digested. My quick reports from Croatia and during transit back home have already appeared on the BJP website:

http://www.bjp-online.com/public/showPage.html?page=874544

http://www.bjp-online.com/public/showPage.html?page=874550

You can see a short 720p HD movie (rescaled from the original 1080i for YouTube, edited using iMovie 09 on Mac) here:

http://www.youtube.com/watch?v=lSl3jN2sk7Q

- David Kilpatrick

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 dream of any camera maker is to sow a few dragons’ teeth and have fully armed warriors spring from the ground, something which Olympus has managed to achieve twice in succession, first with the E-1 and 4/3rds, then with the digital Pen and Micro 4/3rds.

Sony, ignoring Greek myths, has so far gone for the Celtic version and chucked the bones of its dead warriors (Minolta!) into the Cauldron of Bran to rise and fight again. As reanimated corpses go, the Alpha models so far have proved pretty lively. But in all good myths, whether Greek or Celtic, it’s the real live heroes who eventually win. Sony has a couple of real giants in the Alpha 900 and 850, but not much else until a true Alpha 700 successor arrives.

That is what PMA is said to have revealed – without a name, but with a mockup and some tentative specifications:

You may not think these studio packshots from Sony are very exciting. Think again. That, dear Alpha fan, is a magnesium alloy body shell. You can tell it’s built the same way as the Alpha 900 and 700 by the small screws visible outside the perimeter of the body lens mount, and the traditional strap lugs. If it’s not magnesium or mag alloy, it’s a new material to the range and it certainly is not the same stuff the A100-200-300-500 series is made of.

Inside this camera, as with the Canon EOS 550D, there are two activating motors not one. The mirror action and the shutter action are separate. That’s not the case with the recent sub-700 series Alphas which have used a single motor to drive a permanently hard-linked mirror-shutter cycle, a cost saving measure which simplifies assembly but rules out any chance of providing mirror lock up. There is every chance this camera will have MLU.

It also has a full AF mode switch, and a depth of field preview button (presumed, unless Sony has changed the function of the button in that position, which is unlikely); it has a Memory Recall position on the shutter dial. All this says, very clearly ‘A700-900 type internal design’ to match a solid metal, weathersealed exterior shell.

The format

My press information from Sony implies that the new HD-AVCHD CMOS sensor used in the DSLR models is exactly the same sensor as they are using in the EVIL models (the mock-ups above).

Sony press release wording:

In 2010 Sony will introduce a new ultra-compact camera with interchangeable lenses that teams “any time, anywhere” convenience with DSLR picture quality. Exhibited in early concept mock-up form at PMA, the camera features a newly-developed Exmor APS-C HD CMOS sensor. It will also support HD video recording using the efficient and high quality AVCHD format. Shown in mock-up form alongside the compact, easy-to-use new camera is a selection of compatible interchangeable lenses.

Mainstream DSLR range to grow further
Sony also confirms that the current α range will continue to grow with the introduction of further new mainstream DSLR models using the newly-developed Exmor APS HD CMOS sensor and integrating HD video function with AVCHD format.

This seems to be a clear indication that it’s a new HD sensor and not the same as the A550. The term APS-C is hopeful, I have amended this post – my quick measurement in Photoshop of the sensor in the image above indicated (allowing extra for overlap of the mask) that it was 16:9 but I’ve since seen a head-on shot of the PMA mockup which shows it is 2:3 format as normal.

Video

The new camera will have HD video and probably won’t attempt to focus during filming; doing so is a red herring with cameras of this format anyway, as autofocus doesn’t even work reliably with regular camcorders. But it will probably autofocus rapidly from Live View, replacing QV autofocus with a contrast-detect system that actually works, especially when combined with Face Recognition. If it does allow AF during filming, the CZ 16-80mm lens shown fitted here might not be the best choice.

Or might it be OK? Try an Alpha body and work out where the body-driven focus sounds really come from. Some lenses are noisy. But I have just stuck my ear next to several, even vintage Minolta AF designs 25 years old, and turned the manual focus ring. Guess what? They are as quiet as SSM. All that Sony needs is a silent drive motor for the focus in the body, and the ZIP sound will disappear. There is absolutely no reason why a new AF motor generation using silent technology should not transform the apparently ‘noisy’ performance of body-driven optics.

Sony’s use of the AVCHD format is much publicised. So what? It doesn’t say it is the Lite flavour, so that means the camera is probably 1080p and that the files as saved to the memory card will be easily read via the card slots of Sony devices such as Bravia televisions or PlayStation, or played from the camera’s USB connection. It also means that some computer systems and portable players, digital photo frames or PDAs may need the video converting before they can play it.

Sony has almost certainly made sure the format shoots 1080/24p, the industry standard. But I think they have done much more than this. I think the A7xx will be the first video DSLR which allows you to capture a still frame while recording unbroken video, and to do so without a shutter actuation. It may be nothing more than a 1080p JPEG still, extracted and saved in  real time (Nikon allow saving of 720p JPEGs by reviewing the footage and selecting frames, in-camera, on the D3S).

But I think Sony’s recent experiments with auto image alignment (in the two-shot HDR function of the Alpha 550, etc) are a clue to what they may do to create higher resolution JPEGs than 1080p, without interrupting video recording. A software utility which can re-mosaic and conflate two or more video frames is already available:

http://photoacute.com/studio/guide/guide.html#video_import

I’m already using this software to create double resolution images from my A550 raw files – incredible 55 megapixel landscape and still-subject shots made using a set of exposures, with SSS switched on even on a tripod to ensure that each raw records the data slightly offset on the Bayer grid. The report on this will be in the Spring Photoworld magazine.

At the moment, pressing the shutter during filming on a Canon DSLR captures a full res image but interrupts the video and sound for about 1 second. Pressing the shutter on a Nikon DSLR terminates the video and captures a still frame. Sony will, I think, be the first maker to allow instant capture of a still frame during filming without interruption.

For many, the critical factor will be whether or not Sony provides a stereo mic/line input jack, and firmware to control the impedance, fixed gain or auto gain for this (and any built-in mic). Sound has been the Achilles Heel (sorry, Greek legends again!) of video DSLRs. Only the Nikon D3S so far allows external input with mic/line compatibility, and manual fixed gain. All Canon DSLRs to date have forced auto gain even for the external input – and not one of them is compatible with line sources (officially) making the use of external preamps or mixers a matching lottery.

Now if you think all this does not matter, all you want is a good DSLR, I know a nice patch of warm sand with plenty of ostriches to keep you company. I only shoot video on DSLR once every couple of months. When I want it, it’s great to have it. They cost me no more than non-video capable DSLRs and the inclusion of video has zero impact on the way they work as still cameras. I will welcome video on Alpha. I have the lenses for it and I’ll use it!

And the rest

The A7xx will allow studio shooting with Live View and AF, with auto gain to enable modelling lights. It will have its own LED video lighting system, with a new flashgun capable of either flash or a modelling-light/video strength continuous LED output. You will be able to see depth of field through the glass prism optical finder (no QV, no mirror prisms) or to perfect accuracy on the high resolution rear screen, and magnify the Live View image for critical focusing and d-o-f checking.

I’m almost prepared to bet that it will not support motordrive speeds faster than 5fps (or a minor variation on 5, such as 5.5fps) because the 7fps of the A550 was partly enabled by the hard-linked shutter mirror mechanism with its single motor, plus the fixed stop-down of the lens (which does not open and close repeatedly during 7fps shooting). But through the video function of the new HD sensor, Sony will enable some interesting high speed sequence options for stills, with capture speeds dependent on subsampled resolution taken directly from the CMOS. There has been a firm rumour for some time about a Sony prototype DSLR, seen in SE Asia and Australia, which could shoot something like 15fps at a usable resolution (6MP or thereabouts). So a feature like that would not surprise me.

There are new 24mm f/2 (prototype) and 500mm f/4 G (previsualisation) lenses on the way, which leaves another eight for Sony still to work on including a rumoured 35mm f/2 and 85mm f/2.8 Chinese plastic SAM duo. The nasty little 30mm f/2.8 SAM macro, by the way, turns out to be one of the best lenses I’ve ever used despite its horrible cheap skin and clunky focus motor. So if Sony does make 35mm f/2 and 85mm f/2.8 lenses for £199 apiece, do not dismiss them.

This camera will have a superb quality LCD overlay focusing screen like the Canon EOS 7D, maybe even losing the visible ‘wires’ of the Alpha 550 precursor. It will have one of the brightest viewfinders seen in an APS-C DSLR to date. Will the AF module be updated – along with a new in-body focusing motor that works in fully variable torque mode, silently?

Well, if I was a designer at Sony, all this would be happening.

The alternative would be to chuck some more bones in the cauldron and see what kind of zombie jumped out.

- David Kilpatrick

Sitting behind a desk in Scotland while Gary Friedman attends PMA on our behalf. Gary will trash all this errant speculation and provide the real story, extracted from Sony staff under duress (he carries a Xaphoon, it works every time!).

The Alpha 500 is a 300/350 sized body and accepts the same NP-FM500H batteries as the Alpha 200, 300, 350, 700, 900 and 850 – not the smaller battery used in the Alpha 230, 330 and 380. As you can see from the overlaid image (matched exactly to lens mount size) the 500 is substantially bigger than the Alpha 380, with a much larger right hand grip and prism housing. A battery grip VG-B50AM accepts the same cells.

Until the press conferences – variously tabled between August 27th and September 2nd at locations round the world – this is the only apparently authentic image of the 500 to be found. The location is:

http://www.digitalkamera.de/Kamera/Sony/Alpha_500.aspx

In addition to Live View from the sensor with manual focus only, Face Recognition is offered (apparently) for up to eight faces. There is no reason why this needs to be linked to the main sensor; Face Recognition could be provided using the Quick AF Live View image.

This also includes the specifications in German, but there are a few suspicious details. For example, the ISO range is given as to 12,800 but no lower limit is stated. It is normal to put the bottom end as well as the top, whether it’s 50, 100, 200 or whatever. The CMOS sensor is not ‘qualified’ as being CMOS-R (back-illuminated) though the inclusion of ISO 12,800 would indicate a new sensor.

Remember – Sony created a CMOS 12.24 (final) megapixel sensor which they used in the Alpha 700. Since then, Sony has not used this sensor or its variants in any other camera. Nikon has used it in the D300, D90, D5000 and D300S (which I am testing at the moment, having used all these as they were released). Nikon still only gets ISO 6400 (as Hi 1.0) from this sensor, and a very good 6400 it is – but so is the 6400 from the Alpha 700. Nikon has not advanced to 12,800.

The pixel count of the Alpha 500 is shown as 4,272 x 2,848 which is exactly the same as the Alpha 700 and the larger figure given will be the active area pre-Bayer conversion. This is an exact match for the IMX-021 sensor as used in the Alpha 700; the Nikon D300S converts to 4,288 x 2,848. Such minor differences are normal and depend on the de-Bayer algorithm used, the amount of sensor set aside for calibration, the type of Low Pass filter. But it’s unusual for an entirely new sensor type to match an earlier one this precisely. So you may either count the information as suspect, or assume that the Alpha 500 sensor is a modified Alpha 700 sensor.

According to the German site, 5 fps is achieved (much as with the Alpha 700) but the shutter unit is limited to the 1/4,000th top speed found in the lesser camera models. A wider range of creative image styles in both sRGB and Adobe RGB colour space will be augmented by a built-in HDR function. This is listed in addition to DRO+ with 5 manual steps, as found in the 700. Auto bracketing is included, but what will matter is the extent of the bracketing and how this works with the HDR processing. The card media changes to a dual slot Memory Stick Pro Duo and Secure Digital drive, much like the Alpha 230-380 series.

The rear screen is a 230,000 pixel type, though stated to be 3 inch instead of 2.7 inch, and is tiltable. The remote IR control can be used, but there’s no indication of whether a wired remote socket is retained. There is an ‘album function for the management of pictures on a PC’. The built-in GN12 flash appears to have either the usual +/- over-ride, or perhaps manual setting. This is one of the best features of the Nikon D3000, a flash which can be set to 1/32nd power and used to trigger studio strobes.

The same site has Alpha 850 specifications:

http://www.digitalkamera.de/Meldung/Sony_Alpha_500_und_Alpha_850_fuer_APS_C_bzw_Vollformateinsteiger/5981.aspx

This site states definitely that the Alpha 850 has two Bionz processor like the 900 – this was always on the cards, and raises the possibility that more relaxed processing demands could have allowed Sony to improve the noise reduction and JPEG encoding stages. Other confident rumour-mongers state that the A850 image is identical to the A900. I say ‘wait and see’. The Nikon D5000 image quality is, after all, better than the D300 much to the annoyance of D300 owners. That’s what can easily happen with the next generation, even if it’s cut down in specs or a different model. The A850 might just perform better than the A900.

It looks as if the rugged mag exterior housing of the A900 might also have been modified – that Sony badge is fixed in a panel, where the 900 has the entire front of the prism as one casting. Perhaps the top plate is now a material similar to the Alpha 700.

Most of the remaining details on the German site are repeating specifications already present in the Alpha 900 even where the writer thinks these are new or changed. There is one possible exception. The CF Card and Memory Stick switching of the 900 is not remembered by the Memory positions 1, 2, 3 on the mode dial. The German text implies that in the Alpha 850, this has been changed so that the memorised setup includes the option to identify a specific card. This would be of great use when shooting RAW to one card and JPEG to another as the occasion demanded.

Clearly all the details are not known by Digitalkamera – they ask questions as to how the live view and face recognition functions work – but they appear to have a price, of just 50 Euros (£60, $100) more than the Alpha 380 for Alpha 500. There is no mention of the Alpha 550 but one intriguing reference from another source indicates that this model may be bundled with the vertical grip. Anothe rumour is that it will have 15 megapixels. Then there’s the CMOS-R discussion too. Perhaps the Alpha 550 will be considerably more expensive than the market-beating price indicated for the 500. Perhaps it will have CMOS-R, suited to a newly developed 15 megapixel sensor, and a vertical grip packaged with the kits – and perhaps it will have HD video recording as well as contrast-detect focusing from a sensor based live view.

A 920,000 pixel rear screen with improved articulation would be too much to hope for…

- DK

This is a screen grab from Fotobrenner.de in Germany who have the body only offered for €1999.00 and the kit with SAM 28-75mm f/2.8 new lens for €2699.00. As listed that makes the body about 10% more expensive than the current street price of the Alpha 900 – indicating either that the A850 prices are RRP and will rapidly fall, or that the A900 is about to get a price hike. They offer the A900 for €2499.00 and that would – pro rata – make the UK street price for the A850 about £1599. Please note: though the 28-75mm picture is authentic, the body shown has the AF switch set to C – just like the Sony shots of the A900 issued to dealers. Maybe they would do this for all packshots for some reason, maybe it was chance – more likely. It would be unlikely to happen again for the 850 shot so I reckon this is shopped.

Specifications have been revealed in full, due to the placing of the GB (British) instruction manual PDF on the Sony South-East Asia official website as an accessible download:

http://www.css.ap.sony.com/consumer/hkmc/index.aspx?usr=p&c=en

H_K_F, a member of a forum in the region, reported on Dyxum.com during Saturday August 1st that members of his group had downloaded the file. The result was a bit of a feeding frenzy, with news of the PDF document propagating across forums rapidly, slowing the download speed down. The document was been pulled from the Sony server after return to work on Monday so the link will not work until it is reinstated (Editor’s revision of this post after this happened). NB: it’s amazing how few visitors try clicking the image of the front cover, above, to see what they get

The Alpha 900 uses twin BIONZ processors to achieve 5fps. It also uses, as far as is known, Apical’s proprietary IRIDIX processor to handle the DRO, DRO+ Auto and Manual image optimisation. IRIDIX is still stated by Apical to be limited to 16 megapixels of still image data. The twin BIONZ operate separately in the Alpha 900. Each processor pipelines works in turn, and if one is occupied for too long (perhaps due to card writing preventing the buffer from being refreshed at the output end) a data flow controller will use the other. They do not operate in strict alternation, but in ‘first out, first in’ priority for the image data.

The IRIDIX twin processors presumably work differently on the raw data leaving the BIONZ, in order to handle 24 megapixels. DRO+ certainly slows down operation, and is one way to make sure you don’t get a full 5fps – another way is to enable high ISO noise reduction, and shoot at high ISO (DRO is disabled at high ISO, a possible indication that the IRIDIX is being used for NR, which is another of its functions as described by Apical). It is not a coincidence that DRO is only active below the high ISO NR threshold, and High ISO NR is only available above. The two are mutually exclusive and both slow down image processing by a similar amount.

The Alpha 850, however, achieves 3fps using a single BIONZ or so it is rumoured* – and it does have DRO, and DRO+. Perhaps this means a new method is used for both DRO and DRO+ (which are Sony terminology, not Apical’s tradename) just the same way that Nikon have used both Apical and home-grown image optimising methods, and called them all the same thing. If this is so, then a new Noise Reduction stage may also be used, causing less of a chicane in the race to get the image to the finishing post. And if a new NR process is used, Alpha owners will be anxious to see the high ISO results, and the quality of JPEG conversion in-camera. Certainly, 3fps points to a new variation of the Alpha 900 BIONZ even though the physical unit is known to be the same circuit assembly.

*If this rumour did not exist, I would assume the A850 was just an A900 with a fixed viewfinder mask in place of the adjustable one (cutting out a major manual calibration step in manufacture), and firmware changes.

Whatever the case, they have optimised up the transfer of images to the CF card, and it can not be long before an Alpha 950 appears. Why?

The Alpha 900 can officially (according to the manual) only shoot 12 raw frames consecutively before the shooting rate slows (5fps versus 3fps is not quantified). The Alpha 850 – a cheaper body – can shoot 16 raw. All the capacities are increased:

RAW 16 images (900 – 12)
cRAW 18 images (900 – 12)
RAW & JPEG 12 images (900 – 10)
cRAW & JPEG 12 images (900 – 10)
Extra fine 34 images (900 – 11)
Fine/Standard 384 images/593 images (900 – 105/285)

While RAW shows a worthwhile increase, JPEG improvement is off the chart (another reason I suspect it’s the Apical/Sony bit which handled post-processing, DRO, NR and JPEG conversion which has been upgraded). The Alpha 850 manages THREE TIMES the number of Extra Fine JPEGs, it’s a mere (official) 11 with the A900, and almost four times the number of Standard. Of course, the UDMA 300X Sony CF card now used to measure this was not around when the Alpha 900 was launched, and no mention of it is made in the 900 manual. It gets its own credit in the A850 manual.

Added August 4th: The Alpha 900 tested today with a SanDisk Ducati Edition Extreme IV 4GB manages 14 RAW, 34 Extra Fine at 5fps and 18 RAW, apparently unlimited Xfine at 3fps. Assuming the Sony UDMA 300X is at least equal to the SanDisk Ducati, either these figures are all insignicant – or there are minor changes associated with using a single BIONZ or some modifications to image processing – or card write speeds depend on filesize (block allocation size on the card influences this). Otherwise we would expect to see a much higher figure for Xfine JPEGs and an unlimited figure for Fine/Standard. The anomalies between figures, the non-proportional changes, will have to wait until the A850 appears for an explanation. I realise that I had my Ducati 4GB before I got the A900, as well – 300X UDMA was around in September 2008 if not from Sony.

The second difference between A900 and A850 is that the optical prism shows 98% of the frame, not 100%, but does so at exactly the same 0.74X magnification and with the same 20mm eyepoint. It also accepts exactly the same focusing screens. Money has almost certainly been saved by using a different optical configuration (not an expensive condensor lens) and no fine-tuning of the 98% view frame position. The result should be a very slightly less bright and low-distortion viewfinder, which will be accurately to within 2% of the frame area instead of perfect.

Apart from this, it is exactly the same as an Alpha 900. It weigh the same 850g body only, takes the same battery, shoots the same 880 images per charge, has the same dimensions and is made of the same materials.

The Alpha 850 PDF manual has sufficient edits and pagination changes to appear genuine, though it might be an early revision. It does not include the HVL-F20AM flashgun, even to the extent of not listing it as a wireless flash controller (its main function with the Alpha 900). This could mean that the Alpha 850 requires the HVL-F58AM to handle wireless flash from an external commander, just as the Alpha 700 does – but without the benefit of a built-in flash to do the basic job. The listing of the Remote Commander as an optional extra is one of the most plausible edits, but the exactly identical weight is confusing.

If one BIONZ processor has been removed, what has replaced the weight?

Here’s my hope – they took away one of the two back-to-back BIONZ circuits, and used the space to install an improved DSP for Noise Reduction, DRO and JPEG conversion. I hope that the A850 is not just a cut-down A900 but will trade sequence shooting speed (the early stage of data processing) for image quality. It will be followed, I think, by an Alpha 950 retaining or bettering the 5fps of the A900 and the continuous frame count of the A850 – along with as yet unknown image quality benefits to bring the full-frame Alpha right up to the level of Nikon’s implementation of the same sensor.

Along with the 500 and 550 – specifications as yet unrevealed – the camera is due for launch any day now (Aug/Sept) and on August 17th this warranty form appeared on Sony Switzerland website:

- David Kilpatrick

The camera is now launched, along with the 500 and the full-frame 850.

Please visit our detailed launch and specification reports -

http://www.photoclubalpha.com/2009/08/27/new-alpha-a500-a550-official-news-release/

http://www.photoclubalpha.com/2009/08/27/alpha-850-official-press-release/

http://www.photoclubalpha.com/2009/08/24/sensor-feed-live-view-in-new-alpha-500/

http://www.photoclubalpha.com/2009/08/27/7fps-alpha-550/

http://www.photoclubalpha.com/2009/08/01/alpha-850-24-megapixel-3fps-in-900-body/

- DK

The Cyber-shot HX1 by Sony, teams stunning picture quality, lightning-fast shooting and powerful creative features in a stylish, supremely easy to use camera. The new flagship of the Cyber-shot range showcases a range of sophisticated image sensing, optical and processing technologies that offer unrivalled creative possibilities.

Offering cutting edge performance and a powerful 20x optical zoom range, the compact HX1 fits effortlessly into a weekend bag or small travel case. It’s an ideal companion for anyone who needs top-flight imaging performance and advanced shooting functions without the bulk of packing a digital SLR and all its accompanying lenses.

At the heart of the HX1 is a new Sony-developed ‘Exmor’ CMOS sensor with an effective resolution of 9.1 megapixels. Originally developed for the Sony Alpha digital SLR programme, ‘Exmor’ technology delivers outstanding images with reduced noise, especially when shooting in high ISO settings.

(Editor’s note – sounds of hysterical mirth and weeping from A700 and A900 owners)

In tandem with the powerful BIONZ image processor, the ‘Exmor’ CMOS sensor supports full-resolution shooting at an incredible 10 frames per second (max) using a mechanical shutter. Outpacing many pro-spec digital SLR cameras, this super-fast shooting rate is ideal for capturing high-speed action or spontaneous events like parties, where anything can happen in a moment.

The ‘Exmor’ CMOS sensor supports two new shooting modes that reduce image noise when you’re shooting in low light. If you’re capturing static subjects, new Handheld Twilight mode grabs a high-speed burst of six frames, combining them to create a single optimised image with dramatically reduced noise levels. If your subject is moving, Anti Motion Blur mode also superimposes six frames to produce one crisp, composite image with less subject blur.

Also powered by the ‘Exmor’ CMOS sensor and BIONZ processor, ‘Sweep Panorama’ is a brand-new shooting mode that captures breathtaking landscapes, city scenes and more. Just hold down the shutter button and swing the camera horizontally (or vertically). The Cyber-shot HX1 seamlessly stitches together a high-speed burst of frames to create an extra-wide, high resolution image. Panoramas can be viewed as a scrolling preview on the three-inch LCD screen or new S-Frame digital photo frames or previewed on a PLAYSTATION®3.

(No indication is given whether this means the normal scrolling playback functions of the frames and Playstation, or whether software updates will enable additional dedicated modes)

Making its Cyber-shot debut is a new G Lens that has been designed to complement the extraordinary imaging possibilities of the ‘Exmor’ CMOS sensor and BIONZ processor.

Developed originally for the Sony Alpha Digital SLR family*, the G Lens in the HX1 teams aspherical lens elements and ED (extra-low dispersion) lens for uncompromising optical precision. You’ll experience superb resolution and minimal chromatic aberration at all settings, from 28mm wide-angle right up to 560mm super telephoto. This generous 20x optical zoom range accommodates a huge range of shooting possibilities, from landscapes and fun-filled family moments to action-packed sports events.

(*Editor’s further note: this is pure hype, no such G lens has ever been developed for the Alpha range, so we look forward to the release of the 28-560mm for full format in due course… though the press release missed the important bits, it’s a 5-100mm f/2.8-5.2 design – which makes the sensor, in linear size terms, about 70% of the Konica Minolta A2 megapixel CCD)

The Cyber-shot HX1 is the first compact camera from Sony that’s capable of shooting 1080/30p HD movies. It captures crisp, detail-packed HD video clips plus stereo sound at a smooth 30 frames per second.

HD movies and still photos can be enjoyed with superb quality on your BRAVIA or any HD Ready television*. BRAVIA Sync displays the camera’s playback screen on the TV screen, allowing handy control of slideshow, zoom, image index and other functions with your BRAVIA TV’s remote.

The Cyber-shot HX1 makes it brilliantly easy to get great results without the worry of adjusting camera settings correctly. Intelligent Scene Recognition has been enhanced with the addition of Smile Shutter. This lets you capture beautiful smiles automatically, even in tricky situations like twilight or backlighting.

The camera’s tilt-angle 3.0” LCD gives extra flexibility for framing your shots comfortably in any position. Clear Photo LCD Plus technology delivers superb picture quality and contrast, with a resolution of 230,000 dots that’s capable of resolving fine details.

(Further note – that’s a fairly low-res screen, not the same as the 3″ screen of the A700/900. And it’s good to see my old mate Juan Kerr showing the world how to hold a camera – ‘no, don’t put your big mitts all over it, we want to see the G logo – just prop it up from underneath – use your finger and thumb – that’s great..’)

A new jog dial simplifies ‘click and rotate’ selection and adjustment of camera settings. For extra convenience, there’s also a Digital SLR-style Custom button that can be assigned to Smile Shutter, White Balance adjust or metering mode select functions.

The Cyber-shot DSC-HX1 digital compact camera is available from the beginning of May 2009.

(End of press release – no price given, and no indication of formats or detailed specifications. The critical issue for most serious buyers will be whether a raw format is offered for recording; 9.1 megapixels is sufficient for good quality work especially with an ISO 50 option. Also, since no mention is made of it, we assume this EXMOR sensor does not use back-illuminated technology, but is a scaledown of the same CMOS used in the Alpha 700)

Serious issues

For Alpha owners, the HX1 becomes the first consumer bridge cam – presumably selling for slightly more than an entry level A200 kit if it is intended to compete with Pentax’s latest X70 model – to offer the G lens logo. Remember that former Sony digicams have been equipped with Carl Zeiss T* lenses, and no-one suggests that this degrades the Zeiss glass available for the SLR system. G lenses are also appearing on HDTV video cams, though not at such a low price point yet.

This points to Sony reducing their royalties to Zeiss. It has been rumoured that for a period, Sony were (or are) paying rights or royalties to Konica Minolta for their catalogue of lens designs. It was also assumed that the G designation was part of this. The apperance of the G branding on unconnected glass indicates that the G label was overlooked as intellectual property when KM handed over ‘Alpha’ to Sony. KM still makes glass for other brands – some JVC video cameras are fitted with Konica Minolta lenses, but not G.

So we must wait and see. The promotion of the Sony G lens branding could mean that future designs for the Alpha system tend to be G, not Carl Zeiss.

The HX1 looks, superficially, much like an Alpha DSLR with its Sony label on the prism-shaped eye level finder and flash housing. While it is clearly different from an Alpha 900, the distinction between this and the A300 is less visible. It’s no doubt smaller and lighter, but not that much smaller to the eye. The 5-100mm lens has a respectable aperture and at f/5.2 for the long end, is a stop faster than the 18-250mm SAL DT manages at slightly less tele-power. At the wide end, 5mm and f/2.8 combine for exceptional depth of field wide open.

This is an interesting camera – no successor to the DSC-R1, and no substitute for a DSLR, but incorporating many of the functions on wish-lists for future Alpha models.

- DK

The official release from Tamron reads:

September 1, 2008, Saitama city, Japan — Tamron Co., Ltd (Mr. Morio Ono, President) announced the SP AF10-24mm F/3.5-4.5 Di II LD Aspherical (IF) featuring an unprecedented 2.4X zoom ratio in its class of ultra wide-angle zoom lenses. The innovative, high-performance ultra wide-angle zoom lens (model B001) is designed exclusively for Canon and Nikon digital SLRs with APS-C sized image sensors.1 Pentax and Sony mount models will be announced at a later date.

The SP AF10-24mm Di II, the first-ever ultra wide-angle lens for digital SLR cameras, features a focal length range with the 35mm equivalent of 16mm ultra wide-angle to 37mm semi-wide-angle2 in a user-friendly lightweight, compact design. With this versatile ultra-wide-angle zoom lens, photographers can capture magnificent vistas and extraordinary close-ups, bold compositions and unique perspectives, creating imagery impossible with standard wide-angle lenses.

The advanced optical system of this ultra wide angle lens features large-aperture, glass-molded aspherical elements, hybrid aspherical elements, as well as elements made of special low-dispersion glass and high-refractive index glass, all of which combine to deliver high-quality imagery and performance.

–

This will leave a question until photokina – which starts three days after the on-sale date of the lens. Sony’s 11-18mm is clearly a Tamron 11-18mm adaptation. Will Sony have a 10-24mm of their own on show? Could it arrive earlier than the Tamron OEM version in Sony mount? Or later?

We will just have to wait and see.

Here are the full details, again direct from Tamron information:

MAIN FEATURES

1. Covers the Broadest Range Ever—from 10mm Ultra Wide-angle to 24mm—in Its Class
The new Tamron ultra wide-angle zoom lens covers the 35mm full-size format equivalent of 16-37mm, for the first time in this class of zoom lenses1. This focal length range—10mm ultra wide-angle to 24mm semi wide-angle—enables the user to enjoy hassle-free wide-angle photography.

2. Features an Optical Design Optimized for Digital Camera Characteristics Special Optical Glass Materials for High Optical Performance
The new zoom lens uses a high-precision, large-aperture glass-molded aspherical lens element and three hybrid aspherical elements to minimize spherical aberration, coma, and distortion. In addition, a pair of LD (Low Dispersion) glass elements and an HID (High-refractive Index) glass element together compensate for on-axis and lateral chromatic aberrations, delivering high optical quality.
Optical System Designed to Optimize Angles of Incidence of Light Rays Reaching the Imager
The new ultra wide-angle zoom lens uses a new optical system designed to confine the changing angles of incidences of light rays reaching the imager within a certain scope over the entire image field, from the center to the periphery, addressing the effects of variances caused by zooming.
Enhanced Peripheral Illumination
Peripheral light fall-off that becomes an image-degrading factor in wide-angle photography is minimized to ensure high optical quality from the center to the periphery.
Outstanding Resolution
As an SP Di II class lens, it provides high optical quality in   resolution, contrast, and flatness of image field.
Internal Surface Coatings Reduce Ghosting and Flare
The lens uses newly developed multiple-layer coatings and internal surface coatings (i.e., multiple-layer coatings on cemented surfaces of plural lenses) to reduce the image degradation caused by the reflection of light rays entering from the lens front and affected by the imager.

3. Ultra-Compact, Lightweight Design
The new zoom lens covers a wider focal length range with a greater zoom ratio and offers a faster maximum aperture and enhanced optical quality than the existing SP AF11-18mm zoom lens (Model A13). Despite the higher specifications, the new zoom lens is lightweight and compact and accepts a 77mm filter, the same as the existing SP AF11-18mm F/4.5-5.6 Di II zoom lens (Model A13).

4. Minimum Focus Distance of 0.24m (9.4”) Across Zoom Range
Because a close-focusing capability is essential in wide-angle photography, Tamron engineered a 0.24m (9.4”) minimum focus distance across the zoom range. This capability gives the user freedom to create images with an exaggerated perspective at the 10mm ultra wide-angle end and shoot with a maximum magnification ratio of 1:5 at the 24mm semi-wide-angle setting, the largest magnification ratio in its class2.

5. Flower-shaped Lens Hood Is a Standard Accessory
A glare-reducing, flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of light rays that enter from the rectangular frame outside the image field.

6. New External Design Expressing “State-of-the-Art Ultra Wide-angle Zoom Lens” in the Digital Era
The new zoom lens features a refined exterior design that eliminates unevenness in the lens body and enhances its uniformity and smoothness, matching the designs of current digital SLRs.
The metallic finish of the gold band on Tamron lenses makes it stand out as a Di II lens, and the layout of alphanumeric markings, including the TAMRON logo in the center of the control ring, has been improved for greater visibility.
Exquisite black mat finish is applied to the black paint over the lens barrel for improved quality appearance.  The rubber patterns on the zoom and focus rings have been enhanced to compliment today’s digital camera design style and ensure better handling.

SPECIFICATIONS
Model Name: B001
Focal Length: 10-24mm
Maximum Aperture: f/3.5-4.5
Angle of View: 108° 44’ – 60° 20’ (APS-C size equivalent)
Lens Construction: 12 elements in 9 groups
Minimum Focus Distance: 0.24m (9.4”) (Over the entire zoom range)
Maximum Mag. Ratio: 1:5.1 (at f=24mm)
Filter Diameter: 77mm
Overall Length: 86.5mm (3.4”)*
Maximum Diameter: 83.2mm*
Weight: 406g (14.3 oz.)
Diaphragm Blade: 7 blades
Minimum Aperture: f/22
Standard Accessory: Flower-shaped lens hood
Compatible Mount: Canon, Nikon, Pentax, and Sony

*Values given are for Nikon cameras

- DK

Vintage 500mm - but new 85mm Zeiss

Sony’s stand was my main focus, hoping to learn of new products for 2007. However, in this I was disappointed. As predicted accurately in June 2006 by Paul Genge (former Konica Minolta product manager, then in charge of the Alpha system at Sony UK) nothing new was revealed. (Note: the 16-80mm Carl Zeiss was already known to be on the way along with the 85mm and 135mm. We had even been told about a new 24-70mm at the June launch in Morocco, though no indication was given that it would be a Zeiss and have SSM focusing when it finally arrived.)

The Sony stand at photokina 2006

Sony made the odd decision to flood the press and dealer area with orange light

I will confess I found the Sony stand uninviting, with its massive parallel high walls and dividers. It was a stark contrast to Canon’s mainly white, gauzy, light-suffused open stand with its curves and sense of space. It was not helped by the functional black exhibition-hall floor blending into the black walls, and by having one entire side as a blank solid wall (without even any pictures on it) facing other stands.

Inside the Sony stand

The Alpha 100 pictures on show were plain and poor, snapshots taken by celebs or obscure art-reportage by a lesser known Magnum photographer. All failed to highlight any of the best qualities of the Alpha 100, and were oversized prints showing noise, tone-breaks, poor colour balance and sharpness.

Sony lens hands-on area

However, the lens display with 70-200mm and 300mm SSM lenses was excellent, with a well-lit target studio subject:

The studio target for the tethered camera and lens line-up

Discussing a lens

Staff in deep discussion make a good foreground to the model set

Manning levels were exemplary with well presented Sony staff almost matching visitor numbers, and not waiting to be approached, but coming forward to help anyone venturing on to the stand:

Staff engaged visitors with enthusiasm

The consumer-level digicams, it struck me, were better presented than the Alpha 100 with more professional and adventurous images showing off the qualities of the gear. Sure, we know that camera phones and pocket digital cameras do impressive macro – but so does the Alpha 100. I really don’t mind if Sony’s management read this, because I think that the work of our own readers as shown in the Gallery of this magazine better expresses the potential of the system than anything seen on the Sony photokina stand.

Other stands

As Photoworld magazine is no longer supported by Sony – or connected with Konica Minolta – I was free in 2006 to talk to other makers. Of prime importance, given that Sony confirmed no SSM (Super Sonic Motor) lenses apart from the 70-200mm ƒ2.8 and 300mm ƒ2.8 inherited from Minolta were yet on the horizon, I visited the Sigma stand.

16-80mm prototype no 00000000

Here, I was surprised to find that Sigma UK had not been pressing Japan to make HSM (Hyper Sonic Motor) lenses for the Alpha mount because they believed Minolta/Alpha did not support in-lens sonic motors! I parted company after a very interesting chat to three of the senior UK executives, leaving them with a firm message for Sigma Corporation. We want HSM lenses for the Alpha mount.

Sigma has perhaps shied off making these because SSM (or HSM) is incompatible with any film Minolta AF SLR body prior to the Dynax 7, and even the classic Dynax 9 must have had a factory conversion to use these lenses. While Sigma can make a single HSM version for Canon and it will work – I think – with all previous body generations, they would be obliged to have non-HSM and HSM variants of lenses for ‘Minolta’.

Carl Zeiss 135mm f1.8

But now we have SONY – in big letters – on the lens boxes instead. This is not the Minolta M-AF mount. It is the Sony Alpha mount now, and Sony has never made a single SLR body which is not fully compatible with SSM.

So, Sigma, let’s have that new 50-150mm ƒ2.8 in Alpha mount and let’s have it in HSM. I have been using my 70-200mm SSM and I know what a massive difference it makes.

Tamron is launching a new 18-250mm ƒ3.5-6.3, no bigger as far as I could tell than the 18-200mm. This lens is, of course, the basis for the Konica Minolta and Sony branded 18-200mm (Sony owning a share of Tamron, and Minolta having worked with them for many years) and there is a possibility we shall see it as a Sony option in future. If not, it will be available from Tamron in M-AF fit in 2007.

(These paragraphs were written in 2006 – Sony did adapt the Tamron 18-250mm design, and contrary to their own statement, new SSM lenses were being developed; Sigma has since this meeting confirmed that they intend to release HSM lenses in the Alpha mount; Sony has given notice that SSM will be the future for all higher end lenses).

photokina 2008

Dom and rail bridge Rhine sunset

It is normal for exhibitors to stick with around the same stand area and position at successive photokina shows. I hope that Sony has gone for a better position (their stand was approached up a flight of steps from the front through hall entrance doors which hid most of it, and appeared to face a sort of hinterland at the back). I also hope they have learned something about lighting, because the predominantly dark and orange design of their stand made it feel like a city street at night.

Canon's 2006 stand - light and airy

I’m sure they will once again have a studio set and a line-up of cameras, but this time it will be mixture of Alpha 900 (name yet unconfirmed) and other models with lenses including the 70-300mm f/4.5-5.6 G SSM and the new 70-400mm f/4-5.6 G SSM, as well as the Zeiss 85mm and 135mm. These tethered set-ups usually only feature long focal lengths.

We can expect to see, and maybe even to handle, final working examples of an entire range of lenses only previously shown as mock-ups. These should include a 16-35mm ƒ2.8, a 24mm ƒ1.4, a budget 35mm ƒ1.8, the important 24-105mm ƒ4 for the full frame kit, but probably not the rumoured 400mm ƒ2.8. There may be SSM updated versions of the CZ 16-80mm, the 35mm ƒ1.4, CZ 85mm and 135mm, and standard 50mm ƒ1.4 (which we were told way back in June 2006 would one day be replaced by a Zeiss).

While it’s always good to be the first with pictures up on line, and reports, photokina is a very large show and with just two days to cover it we may not be able to get pages up on this site until the 25th. But if we are able to, we will go live with pictures from the press pre-opening day (Monday 22nd) giving you the rest of the entire public opening time to decide if Cologne is worth a visit.

For tickets to the show, visit

http://photokina.en.koelnmesse.info/

60 Years of Peace - a major exhibition which filled some the corridors of the Messehalle complex. Photokina is not just about gear, there are hundreds of galleries and displays of photography to see.

– David Kilpatrick

Timeline recap: the Alpha 100 and new lenses were on sale by the time of photokina 2006, after a June 2006 launch. The Carl Zeiss 16-80mm arrived in spring 2007, followed by the Alpha 700 in September 2007. The Alpha 100 had ceased manufacture before the launch of the 700, and existing stocks were planned to cover up to Christmas 2007. The Alpha 200 was launched in January 2008, followed by the Alpha 350 in February and the 300 (announced, but production delayed) in April 2008.

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