Hand-held, mic set to 90 degree coverage not 120 degree. The NEX-5 only offers auto gain, not manual control of sound of any kind. 18-55mm OSS lens, stabilised but not always in stable hands. Widely varying distances from sound source to mic.

Hopefully a fair view of what the NEX-5 does in this kind of situation; and a view of why, despite the awful weather, I really don’t want to retire to somewhere warm and lose this place!

- David

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The bad news is that anyone using the LR3.2 RC as a temporary free solution for getting full profile correction without investing in Photoshop CS5 will lose their freebie. But Lightroom is eminently affordable, and it can function as a raw conversion front-end for any earlier Photoshop or Elements version. On its own, it is a mere 10MB of program data fatter than Adobe Camera Raw as a plug-in and runs with great efficiency on modestly specified laptops (etc). It’s a lean, keenly priced solution which offers many further benefits as a DAM (Digital Asset Management) library such as keywording, copyright control, metadata editing, version stacking and multiple catalogues.

http://www.adobe.com/support/downloads/new.jsp

I am informed that support is included for the 16mm lens on NEX (profile) but I can’t tell whether it is the profile I supplied to Adobe Labs, or a new one, because my profile has remained unchanged on my system – same names, same modification date. And there’s no NEX-3 version which might be expected if they had created new profiles. So it looks as if it could be worth sending profiles into Adobe after creating them.

It’s fantastic news that Adobe has released ACR for the new Alpha 55 16 megapixel sensor before the cameras even hits the street – mine is on order, waiting! Not so great for Nikon users; no D3100 raw conversion in this release. But Canon users get the 60D (despite Adobe missing it out from their front page list). Adobe did this Sony friendly pre-release once before, for the Alpha 100, getting the conversion into place before the camera went on sale.

The bad news is that the Alpha 580 and 560 models are not in the list alongside the fixed mirror pellucid, transflective (anything but Translucent, please…) cameras.

The instruction manual for the Alpha 33 and 55:

http://esupport.sony.com/US/perl/model-documents.pl?mdl=SLT-A33&region_id=1

is already on-line and shows a March 2010 publication date, which means that Sony has had these new cameras in existence since the beginning of the year, certainly well before PMA when mockups were shown. It’s likely that Adobe’s Thomas Knoll has been using one from the first bug-free pre-production model onwards!

Now all we need is the revised lens series with SAM or SSM motors fitted into the 16-80mm CZ, 16-105mm Sony, 18-200mm and 18-250mm Sony; the 11-18mm wideangle replacement, the 75-300mm SAL replacement, and a few other goodies. Hopefully all Zeiss glass gets SSM where possible. That 16-80mm CZ is four years old now as a design. A tweak to the maximum aperture, or the zoom range, would revive interest.

- David Kilpatrick

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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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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

It also proved very competent with the Sigma 70-300mm f/4-5.6 OS lens, the adaptor providing power for the OS which is fully functional, and also for auto exposure, leaving only manual magnified focusing to tackle. The OS Sigma has an internal motor for focusing on Alpha, not screw drive though it sounds and feels like it. It’s not HSM and almost certainly won’t be friends with any AF enabling update of the NEX/Lens Mount Adaptor firmware.

One lens I have obtained a coupled of sample of to experiment with, even if it means dismantling one. That is the Minolta Vectis 80-240mm f/4.5-5.6 APO, a miniature version of the 100-300mm APO made for 35mm, in the APS Vectis mount. This mount is all-electronic like the Vectis, but probably very different in the voltages required and the command protocol. But who knows? Maybe an AE adaptor with power for manual focus might be possible.

Using a Zenith 39mm (Leica type SLR) thread T-mount the Vectis 80-240mm nearly focused OK attached to the Leica adaptor of the NEX, but the bayonet was only just able to fit in a doctored T-mount and the combination with the NEX Leica screw adaptor was clearly a little too thick.

Using a Leica thread lens reversing ring (don’t ask, from my box of miscellaneous old rings and things – 49mm filter to Leica screw!) and duct tape, I was able to fit one of my two 80-240mm APO guinea-pigs to the mount within 1mm or so of correct register (38mm). It’s only taped, but solid enough. I do not want to cement the bits together at this stage.

Effectively it’s got a Leica screw mount taped as close to the Vectis lens mount as anything will allow. There is plenty of room to make a proper Vectis adaptor, with or without contact arrays at both ends and a chip to convert the signals. Without that, the lens is stuck forever at full aperture. If power could be supplied to the correct pins to enable the focus-by-wire action, that would complete the job with this Vectis lens – but other Vectis lenses don’t even have a manual electronic focusing option. As it is, wrenching the front tube round focuses the lens. Just like it did when you were fitting or removing the lens hood, a frustrating rotating front unit.

As it stands, the 80-240mm Vectis APO f/4.5-5.6 is a really neat size of lens for the NEX and Sony could do far worse than remake this in an OS version for NEX. At full aperture, performance up to 200mm is very good but a familiar softness (like the 100-300mm APO D at 300mm etc) creeps in at 240mm. For 1996, the lens is pretty amazing.

80mm wide open, http://www.pbase.com/davidkilpatrick/image/127009628/original.jpg for original

240mm wide open – http://www.pbase.com/davidkilpatrick/image/127009627/original.jpg

Close focus at around 135mm wide open (because the lens can not be stopped down):

http://www.pbase.com/davidkilpatrick/image/127009626/original.jpg

Around 100mm, same conditions apply:

http://www.pbase.com/davidkilpatrick/image/127009625/original.jpg

And at 240mm close focus again:

http://www.pbase.com/davidkilpatrick/image/127009624/original.jpg

This lens has some really good qualities, considering it is not even mounted correctly and is definitely not correctly set up for register, which alters the way the zoom/focus correction functions. It could no doubt be made to look better by picking a flat target and a medium distance, rather than homing in on garden close-ups with too much depth for the wide-open setting.

But the bokeh effects are not too bad, the point of focus is well defined, and the lens has few vices considering the imprecision of its mounting!

- David Kilpatrick

Sony is expanding its line-up of over 30 A-mount lenses with new models that will appeal to seasoned photographers and those new to DSLR cameras alike – a 35mm f/1.8 DT (APS-C) SAM, an 85mm f/2.8 full frame SAM, and the long-awaited 24mm f/2 Carl Zeiss Distagon T* 24mm f/2 for full frame with SSM ultrasonic focusing. In the interests of getting this report on line, it’s mainly Sony words, with a few added comments and edits.
The Distagon T* 24mm F2 ZA SSM (SAL24F20Z) features Carl Zeiss Distagon design and rounds out the existing Planar (SAL85F14Z) and Sonnar (SAL135F18Z) models also developed in conjunction with Carl Zeiss. It is intended to appeal to experienced photographers looking for a large-aperture wide-angle lens of real distinction.

The DT 35mm F1.8 SAM (SAL35F18) adds the important 35mm focal length to what Sony now calls the ‘Easy Choice’ series. ‘Easy Choice’ is intended to provide great value, compact and lightweight lenses that are attractive to entry-level and advanced photographers alike. Each lens in the series is selected for a specific purpose, for example portraiture or macro. – Sony definition.

The 85mm F2.8 SAM (SAL85F28) is another ‘Easy Choice’ lens, this time offering the 85mm focal length considered the standard for portraiture because of the natural perspective it provides. True to type it is extremely compact and light, weighing just 175g.

The Distagon T* 24mm F2 SSM (SAL24F20Z)

The Distagon T* 24mm F2 SSM (SAL24F20Z) functions as a wide-angle 24mm lens on full-frame cameras with 35mm sensors, or as a 36mm equivalent lens ideal for general use on cameras with APS-C sensors. Jointly developed with Carl Zeiss, it features the highly-regarded Carl Zeiss Distagon retrofocus lens configuration.

This lens is distinguished by its fast response focus and extremely quiet, very smooth operation thanks to its built-in SSM (Super Sonic wave Motor). It offers a focusing range from 0.19m (0.29X scale) to infinity, and a nine-blade circular aperture along with a large f/2 maximum aperture contributes to smooth, natural bokeh effects. The design uses 9 elements in 7 groups, with two aspherical and two ED glass (so it’s a modern Distagon derivative, nothing like a classic Distagon).

The all-metal lens barrel has been ‘finished to a very high standard resulting in a visibly high-quality appearance’. It takes 72mm filters, weighs 555g, is 78 x 76mm in overall size, and comes with a lenshood, case, front and rear caps.

The DT 35mm F1.8 SAM (SAL35F18)

The DT 35mm F1.8 SAM (SAL35F18) weighs just 170g. It can be added to a lens kit system and carried without noticeably increasing the weight of the bag.

With an approximately 50mm (35mm equivalent) focal length on an APS-C sensor, this lens is ideal for snapshots and portraits under a wide range of shooting conditions. The high-speed f/1.8 maximum aperture is particularly advantageous for hand held shooting in low light.

At just 0.23 metres (0.25X scale, so actually less good for close-ups than the 24mm, oddly), the DT 35mm F1.8 SAM (SAL35F18) has ‘the shortest minimum focus in its class, making it an excellent choice for dramatic close-ups too’. The internal Smooth Autofocus Motor (SAM) drives the focusing group directly and may, if all goes well, turn out to be compatible in future with continuous AF during video shooting.

It uses 6 elements in 5 groups, takes 55mm filters, is 70mm x 52mm in size, and comes with hood and caps.

The 85mm F2.8 SAM (SAL85F28)

This is the first full-frame lens in the ‘Easy Choice’ range, so its launch represents an important development of the line-up as a whole. The 85mm focal length is a standard for portraiture because of the natural perspective that it provides. On an APS-C sensor camera the 85mm F2.8 SAM (SAL85F28) functions as a 127.5mm (35mm equivalent) telephoto lens – and features a Sonnar-type optical design that is considered ideal for mid-range telephoto lenses.

The lens is sharp center to corner, and features smooth defocusing thanks to its f/2.8 maximum aperture and circular aperture design. At 0.6 metres (0.20X, so not as good for close-ups as either the 24mm or 35mm!), the minimum focusing distance is the shortest in its class, and SAM motor technology ensures smooth autofocus operation (see above, but bear in mind that SAM is basically a cheaper alternative to ring-type SSM).

‘The quality optical and mechanical features of the lens mean it is suitable for serious photography and should more than satisfy intermediate to advanced users’, add Sony.

It has 5 elements in 4 groups, takes 55mm filters, is 70 x 52mm in size and weighs only 175g; it comes with hood and caps. Maybe the classic MD 85mm f/2 would have been nicer to see in SAM form, but f/2.8 is plenty these days.

So, I copied my ramblings and moved them here, instead of putting them in a forum post where just a few hundred people would see them. Tens of thousands of visitors see Photoclubalpha’s main site articles, and I want this to be seen, because it matters.

PP’s write-up is very positive – it is not a ‘bad review’ in that sense – but much of the wording used is misleading, and omissions can sometimes distort the comparison a reader makes.

PP starts off by saying the NEX-5 has ‘the added advantage of HD video’ over the NEX-3 – of course, both have HD video, the NEX-5 is 1080/50i AVCHD while the NEX-3 is 720/25p MPEG4. It could be assumed that the PP reader has only a marginal interest in video, but this phrasing does not describe the feature and implies that the NEX-3 lacks HD video.

The screen is great for ‘low level composure’  and the APS-C sensor is ‘ideally placed for delivering DSLR quality images’.

The majority of the selecting, PP says, is done through ‘never get lost’ menus (sounds as if PP were fed a marketing term here – I would probably call some of them ‘dead end’ menus in maze terms – you have to return or exit). Confusingly, PP says there is ‘no dual sensor cleaning, but there is an electromagnetic vibration system and an anti-static coating on the sensor’. I thought this was a dual anti-dust measure. What is ‘dual sensor cleaning’ if it’s not this, and how does the NEX lack it?

PP also says that removing the lens reveals how close to the rear element the chip sits inside the camera, and states: ‘There are potential issues here, as this may cause image quality problems such as distortion and aberration’. Well, that’s just completely untrue and gives readers needless doubts. Some of the lowest distortion wideangles ever made have had very short clearance back focus, like the 21mm Super Angulon for Leica M or the classic 21mms designed for mirror lock-up by Nikon and Minolta – or the 16mm Zeiss Hologon for Contax G.

Some of the world’s best lens designs have used rear elements almost touching the film, including the Ricoh GR (for film), the Minolta TC-1; and the excellent Sony R-1 Carl Zeiss zoom also features a minimal gap between its rear element and the 1.7X sensor of that camera, the absence of a mirror freeing Zeiss to create one of the best 24-120mm equivalent zooms ever designed.

In fact the 18mm mount to sensor distance and the wide mount throat combine to offer the maximum possible scope for the makers to design distortion and aberration free lenses of a quality hard to achieve without high costs and large size, heavy weight even for APS-C DSLRs. PP has got it exactly the wrong way round. They have turned a huge positive aspect of the camera into a negative niggle.

Sweep Panorama is described as a function which is ‘not new on a Sony camera’. Actually, this type of Sweep Panorama is entirely new on a Sony, or any camera. This is not a video-composed Sweep Pan, as found on all previous Sony and other compacts. It is a high resolution, auto-stitched, multi-shot panorama of unprecedented size (up to 23 megapixels).

Confusing the issue, PP states that the panorama files are playable on a Sony Bravia 3D TV. This is incorrect. Normal sweep pan (.JPG) files are playable on any HD TV, and are not 3D. The camera(s) have a second entirely separate Sweep Pan 3D mode, which is not a sequence of shots, but a video pan like compacts. The file (.MOT) created is 1080p HD in height, and in a 3D format; and it can be played back on most 3D TVs using the same system as Sony Bravia.

Most of PP’s comments on using the camera are fair and balanced descriptions of its strengths and weaknesses, but once again, language gets in the way of accuracy. The ‘large optics help deliver… detail to the sensor’. What does that mean? Which large optics? The lenses are fairly small. Their size has no bearing on how much detail they ‘deliver’.

‘This is not the fastest camera out there, but with speed priority engaged it’s impressive at 7fps’ – well, actually, it IS the fastest CLC/ILC out there, and that 7fps has no competition from Micro 4/3rds, Samsung NX or Ricoh. The 2.3fps standard capture rate includes reliable AF tracking (certainly not guaranteed when shooting continuous action with the competitors), but this is not mentioned. It would be fair to comment on 2.3fps being a modest drive rate, but the continuous AF performance had to be taken into account when doing so.

‘The general consensus of opinion is that CSC cameras are effectively high quality compacts that deliver DSLR quality. Yet the NEX-5 is still rather bulky and certainly not pocket material’ - conclusion.

‘The NEX-5 takes the compact size of these CSC models down to a new level, as it’s the smallest and lightest of these removable lens models to date’ - second paragraph of the main report, and highlighted pullquote.

I don’t think I need to point out the conflict in these statements. And the day before writing this, I had the NEX-3 with 16mm lens in my shirt pocket.

‘The HDR mode is okay, but it’s not as good as true HDR creation using post-production software’ – not the best comment to make on the most advanced, 6EV range, in-camera HDR system yet seen and one which also saves a non-HDR JPEG of the normal exposure (not mentioned). None of the other multi-shot modes gets mentioned at all; no reference to the Anti Motion Blur or Twilight modes which blend several exposures to create one low-noise, sharp result.

Finally – ‘Most of the CSC products are quite similar in price, especially with lenses that cover the same focal lengths’. Actually, they are not quite similar in price. To get HD 1080/50i you have to spend almost twice as much. To get their equivalent of the 16mm lens… sorry, you can’t.

There is no 12mm f/2.8 pancake lens made for Micro 4/3rds, or any 16mm prime for APS-C. The 17mm offered by Olympus is a 34mm lens equivalent, not a 24mm equivalent. The 20mm offered by Panasonic is a 40mm equivalent. The 30mm from Samsung is a 45mm equivalent.

By glossing over such issues or ignoring them entirely, the PP report omits most of the unique selling (and using) points of the NEX, and the reader is left to assume that it’s pretty much the same as the competition.

I believe the job of a review is to highlight all the aspects of a product which may not be understood fully by the reader, because they are new or unfamiliar; to point out the differences between products, because these differences drive buying decisions. A single feature on a new camera may be the one feature which attracts many buyers. Sometimes, this matters more to the buyer than all other aspects of handling and design. Single features can persuade photographers to change their entire camera system. Just look at Nikon with ultra-high ISO in the D3/3S – or Canon with true 1080p in the 5D MkII, 7D and 550D.

For me, 1080/50i video with stereo sound is important as the only other way to get that in an affordable package is the Canon 550D with external microphone, or the Panasonic Lumix GH1 at around 60% higher cost. The 16mm lens is important – there has never been a 5-element f/2.8 design covering this angle before. The E-mount is important, it allows more potential choice of adaptation to other optical systems (lenses, scientific, astro, micro, you name it) than any other mount. I’ve already ordered my Sony Alpha adaptor (mentioned briefly by PP without further details or comment), plus independent versions for Minolta SR/MD, Leica M39 and C-mount.

APS-C is important too, as this 14.2 megapixel sensor offers the best quality and largest image size in its class.

The PP Overall Conclusion

Ultimately, PP’s Overall Conclusion certainly fits the report, because so much is omitted which would engage and interest their readership, and so much is dwelled on with makes the NEX seem nothing all that different:

‘I wouldn’t recommend the NEX-5 to the more discerning user’, says Darren Harbar while giving the camera 8/10, ‘but for someone who wants a creative point-and-shoot that will give some control without added complication, the NEX-5 is perfect’.

The build quality, design of the lenses, availability of fisheye and ultrawide converters, battery life (or otherwise!), JPEG quality, and many other aspects are not touched on at all in the PP report. Some of these might be negative – battery life can be short, batteries are expensive. Others might be positive – no other system made offers the option of a 12mm (18mm equivalent) wide angle or 10.2mm (15mm equivalent) fisheye at such low cost.

Is ‘I wouldn’t recommend the NEX-5 to the more discerning user’ a damaging conclusion?

PP is certainly not alone in thinking this, but it’s something which should not be said unless you can qualify it by revealing what you would recommend to the ‘more discerning’ user. Think about the language again; above all, it’s the language of the PP report which will colour the readers’ opinions. What does ‘more discerning user’ actually mean?

As it happens, I’m a fairly discerning user; I can tell the difference between the qualities and capabilities of the many cameras I use, I am capable of making judgments, I have the ability to compare and make choices. I can pick the right tool from the rack. Sometimes, I do want a point-and-shoot that will give some control with added complication, just like PP says.

As it also happens, I want a point-and-shoot which can capture high quality 1080 Full HD video  (preferably 24-25-30p, but 50i will do) with excellent quality sound; I want more than 12 megapixels for stills, 14 is fine, 18 would be even better; and if anyone had put a list of possible lenses in front of me, a 24mm f/2.8 equivalent would have been ticked without hesitation.

It was the lens I could never get, or afford, for Leica; it was my favourite fixed focal length in manual focus SLR from the moment such lenses became available around 1974. 24mm f/2.8 was one reason I dumped the Pentax system and bought into Minolta back then; it was the first lens after the 35-70mm f/4 ‘kit’ and the 50mm f/1.7 that I bought for the Minolta AF system in 1985. 24mm wide reach was the reason I pre-ordered the Carl Zeiss 16-80mm for my Alpha 100 in 2006, and it’s the reason I like the Nikon 16-85mm and the Canon 15-85mm best of all the kit zooms for those systems. It’s even the reason I use a vintage 1999 24-85mm Minolta lens on my Alpha 900.

My conclusion

My NEX-5 with 16mm and 18-55mm OSS lenses cost me £679, but that price included a free stereo microphone which sells everywhere for £99. The built-in mics are so good I might not need it (the camera can record clean sound even if placed just a metre away from a PA speaker blasting out live music – try it with a Nikon D5000 or a Canon 550D). But it makes the two-lens kit cost a ‘real’ £580.

‘Worth the asking price’ is PP’s comment. Worth? It’s the bargain of the year, and that is at launch prices which inevitably fall later on. If you want the wide-angle capability, it’s on its own, and if you prefer the angle of a 28mm-equivalent view, you have 14 megapixels to be cropped down and still match the pixel count of Micro 4/3rds.

NEX has real weakness if you are looking for telephoto reach, and many point-and-shoot upgraders will have been used to surprising long lens equivalents; 300mm is nothing. Micro 4/3rds can get you to to that 300mm equivalent in a similarly priced kit, though without the same wide-angle end. This would have been a useful and valid point for the PP review to raise, of value to readers; don’t buy NEX if you are into safari parks, garden birds, or next door’s bedroom windows. When the 18-200mm OSS does arrive it will cost more than a complete Olympus kit with E-PL1, 14-42mm and 40-150mm – it is also a VERY large lens. There is no neat little 55-200mm OSS for NEX, as there is for Alpha, Nikon and pretty much every interchangeable lens system made whether CLC or DSLR.

Every time I use the NEX-5 I find points to criticise. That rear jog wheel has a tendency to change my selected A mode aperture setting when I pop the camera into the small bag I’m using, forgetting to turn it off first. There I am shooting at f/6.3 and the next time I use the camera it’s at f/22. I wish I could tilt the screen vertically, not just horizontally; I love the screen on my Nikon D5000, and the NEX would have been so much better with the D5000′s design. You could even have turned it to face the camera, protecting the screen and removing distracting displays when using the 16mm optical viewfinder. But no, it’s like the A350-550 series, and fairly limited by its hinged articulation.

When reviewers pick up on points like this, it helps the camera makers. In a magazine like PP, hugely influential, such observations can change the course of future camera design for the better. I don’t find a single observation in the Practical Photography August 2010 issue review of the NEX-5 which stems from the critically aware experience of using the camera or treads the risky ground of daring to compare it directly with competitors.

- David Kilpatrick

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.

3D Sweep Panorama is simple to use; activated simply by pressing the shutter button and sweeping the camera from one side to the other. The NEX-5 and NEX-3 shoot a high-speed burst of frames that are automatically combined inside the camera to create a seamless panoramic still image containing depth information. Sweep Panoramas can be enjoyed in 3D when the camera is connected to a 3D BRAVIA or any standards-compatible 3D TV.

The update also offers other enhancements for the NEX-5/NEX-3. These include:
· Improvement of ‘normal’ 2D Sweep Panorama shooting;
· Decreased power drain when the camera is switched off;
· Quicker start-up in low-light conditions.

The update is only needed for NEX-5/NEX-3 cameras with Version 01 firmware currently installed. Cameras shipped with Version 02 firmware or higher are already updated with the new features. Owners can find out what firmware version they’re currently running by selecting [MENU]/[SETUP]/[VERSION]. NEX-5/NEX-3 owners who have registered their product with Sony will be advised of the update via email.

*System requirements [PC]: Windows XP SP3 (64-bit and Starter editions not supported); Windows Vista SP2 (Starter edition not supported); Windows 7
[PC/Mac] Hard disk space: min. 200MB / RAM: min. 512MB.
Upgrade requires USB cable connection between computer and NEX-5/NEX-3.

Editor’s comment: there is no reference to any improvement in Alpha mount adaptor performance, or the addition of other functions that have been requested from the launch day onwards such as remote flash triggering, interface changes or reassignment of button functions, manual microphone gain control. There are two firmware files in the NEX, one for the BODY and one for the LENS/MOUNT ADAPTOR. This upgrade leaves the LENS/MOUNT ADAPTOR firmware version still at 1.0, only the BODY is upgraded to 2.0.

This software is region-specific. Do not install the European upgrade on any other than a PAL 25/50 European market NEX. There are similar upgrades now on the Japanese and US sites.

WARNING: this is a pretty clunky PC-0nly upgrade method. There is no Mac version, and it does not work by copying files to a memory card – it works only by running an .exe installer on a PC (and not every PC either, see above, and not Macs despite their reference to Mac in the press info). I had not used my netbook for three weeks, and I had not connected the NEX to it before, with the result that the installation process was hampered by constant pop-ups windows including a string of demands from Norton that I pay for their anti-virus software (I’d rather chuck the netbook off a bridge, and intend to find out how to clear this rubbish off the system for good), and a Windows XP update to handle the ‘new device’ it had detected (the camera). Some of these windows were modal dialogs and could not be closed without action, or moved to the back of the installer window. So, before installing, first let your PC do its dance with Windows updates, Norton and any other intrusive processes – or turn off your internet connection entirely to prevent interruption. But, if you have just acquired a new NEX and wish to upgrade it, first connect the camera normally and let the PC install its un-necessary ‘drivers’ if it thinks it really needs them (the NEX conforms perfectly to USB Mass Storage, and in fact the PC does not need anything installing or updating).

Overall marks for friendliness and functionality: around 5 out of 10. It works, but the instructions do not include any warnings about the potential for disruptive behaviour from your PC during the process.

This will have many Alpha system stalwarts saying ‘Help!’ in their own right, as they are still waiting for the predicted arrival of the real new Alphas, the 700 replacement with HD video and its 500-series sibling. What they did not expect was to find two entry-level models arriving without video, and with the changes restricted to a Tale of Peter Rabbit - they lost their buttons while squeezing under the fence to get into the point’n'shoot upgraders garden.*

But actually it’s good news, because it’s a garden full of cabbages who will appreciate the simplified interface and button layout. And they get a very high quality carrot in the form of that 14.2 megapixel sensor, as this looks to be Sony’s standard pixel count for all cameras at this level and higher. If 14.2 is entry level, a denser sensor must surely be on the way for a midrange/semipro APS-C model soon.

It’s presumably the same 14.2 megapixel CCD sensor as found in the Alpha 380, with its ISO 100-3200 range and 2.5fps continuous capture. On Dyxum’s forum, there is speculation that processing will be improved.

The 290 has a plain fixed screen, the 390 has a tilting screen and Quick AF live view (the in-prism system using phase detection). Both have chunkier and better shaped handgrips than earlier models, perhaps in reponse to criticism of ever smaller handling profiles. Thy at least have the same eyestart sensor arrangement as normal and do not copy the 450, which has the sensors above the eyepiece instead of below, and makes for a very awkward camera to use.

They keep exactly the same AF sensor, metering system, shutter, flash system and in-body SSS image stabilisation as previous models. The pop-up flash is GN10, the battery life is around 500 shots (230 in Quick AF Live View mode). The A290 weighs only 456 grams.

And the 290 has not a button in sight on top, even the shutter release and on/off switch have been shifted forward leaving a clear top panel. It’s rather like seeing Botticelli’s Venus without a navel. However, the shutter release placement of the last series was a major criticism, and this new position restores a more ‘industry standard’ placing as used by Nikon and Canon, and by Sony in the A450/500/550 series.

That rather impressively compact lens, by the way, is the 75-300mm Sony SAL seen in a neatly compressed perspective, not something new you don’t know about. And that tells us the cameras do have screw drive AF (fears in certain forums unfounded).

After asking ‘What’s NEX?’ we have the answer – mainstream Alpha DSLRs using the same software based type of virtual-controls interface as NEX, with the same level of built-in guidance for new users. All the functions of their predecessors are still there, if not so obvious camera users with experience of traditional controls.

Instead, you get ‘colourful on-screen icons’ though no claim is made in the press announcement that Sony Ericsson mobile phone designers were involved (as they were for the NEX interface). Lens options include the 18-55mm SAM and a twin lens kit with the 55-200mm SAM added.

The press and technical data does not clarify whether the card drive is the same dual format single slot used by NEX (replacing the twin slot drive SD/MS Pro Duo of earlier models) or what type of battery is used. There is no mention at all of wired cable release, but ‘Remote Commander’ remains as a feature (the infrared controller, sold separately). And there is no mention in the specifications of wireless remote flash, either, though it is included – nor of features like DRO+. There’s still an AC mains adaptor socket.

Premium features such as HDR multi-shot blending, found on the 4-5xx series, have not been added to these models.

To download a raft of high-res images of the two new Alphas and the full launch press release, click:

http://presscentre.sony.eu/content/ZipLoader.ashx?itemID=5953&Type=1&userId=8814&userLocale=2

The slight lack of info hints at a fast-track process to release details.

- DK

* I should point out that Peter Rabbit lost his buttons getting OUT of the garden, after eating too many lettuces. But Sony is clever and realises that to get INTO the consumer market garden faster, you might as well lose the buttons first. If you ever need to get out, well, you lost more than buttons…

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.

Nick Sharples, director of corporate communications for Sony, Europe, welcomed the press to Split in Croatia, and thanked everyone for getting up before breakfast – especially those from Portugal who arrived at midnight (volcanic ash delayed their flights). The launch was synchronised round the world, hence the 8.00am timing for the European meeting.

Yoshiyuki Mogami (Vice President of Digital Imaging, Europe) was introduced to explain a little bit more about the business strategy for Digital Imaging in Europe. Yoshiyuki thanked everyone for coming over to Split; the team from Munich had arrived by driving ten hours.

Sony started Alpha business in 2006, he said, introducing the Alpha 100 in Morocco. The Alpha 700 was launched in Italy in 2007, the Alpha 900 flagship model was introduced in Scotland in 2008. “We have carried out surveys asking people in Europe which brands they would think of when buying a digital camera; the figure has risen from 50%, to close to 70%. Now we are enjoying a 15% market share in Europe. This figure is OK, but Sony now really has to go to our next step.

“But looking at the DSLR as an industry it’s not like two years ago or three years ago. DSLRs were pretty much a booming industry, and that’s why everybody came into his segment. These days the growth of this segment has very much flattened, and of course you could say this is due to economic slow down or recession, but we suspect that the traditional DSLR has a limit in mass appeal to consumers.

“So that’s why Sony can try to break this type of barrier. We put together all kinds of voices and views on this technology to see what we can do – we think we have heard the customers’ voice, and really put it into this project.”

Mogami-san introduced Toru Katsumoto, senior general manager of Alpha:

“Today I would like to officially announce our new ultracompact interchangeable lens camera we have already shown at PMA in February and in Japan. In the current market the boundaries between the three categories – DSLR, compact still camera and camcorder – are already starting to merge.

“In the area when DSLR and Digital Still Compact merge, we see great possibilities. Let me introduce to you NEX-5 (he holds up the camera, in front of large projected images of the cameras). This beautifully crafted body is designed to bring out the presence of the lens. The body is so slim and compact but without sacrificing any size or balance. The grip on this camera ensures a firm and comfortable hold despite such a slim and compact body. The rigidity and texture of magnesium alloy gives a high grade appearance and solid feel to the camera.

“NEX-3 is designed for a more casual approach, and can be very attractive especially for those who have yet to explore the world of the DSLR. The slim design comes in three different colour variations, with a unique texture on the grip. It simply feels great in one’s hand in addition to being a stylish camera.

“The key concept of NEX-5 and NEX-3 is to combine the best of both worlds – the image quality and power of expression of the DSLR, with the portability and ultra-compact design of a digital compact camera. We strongly believe that NEX-5 and NEX-3 are cameras that are capable of satisfying customers’ needs from both DSC and DSLR segments. Namely, compact digital still camera users who are motivated to step up from DSC, and DSLR users who are demanding a more compact camera without compromising DSLR power.

“Professional quality in your pocket is the buzzword for this camera. There are six elements:

• DSLR quality in still and moving images
• Compact and stylish
• Power of expression derived from interchangeable lenses
• Making creative work easier
• Beautiful high definition movies easily filmed
• High speed continuous shooting, 7fps

“The APS-C sensor successfully packs DSLR quality in a small body (he removes the lens and shows the sensor). The new sensor is significantly larger than the FourThirds sensor, resulting in a higher pixel count and superior picture quality.

“Our designers have done a great job; the philosophy is a minimalist design. The lens itself is small, but the body size is so small that the lens looks dominant overall. With the pancake lens, it comes close to the size of a point and shoot camera. It is the world’s smallest, and is lighter than either of the rival brands (Olympus and Panasonic profiles shown on screen but not named).

“The depth of the flange back on the camera is 18mm, the world’s thinnest. This is why we can make it so slim. There are three new lenses. Also conventional Alpha A-mount lenses, currently in customers’ hands, can be used via our mount adaptor.”

Katsumoto-san described the user interface with its virtual scroll wheel, adjusting depth of field; and the sweep panorama including the 3D function. “During the sweep motion, the camera generates two pictures, one for the right eye and the other for the left. You do not need two lenses for 3D.”

He said that Handycam experience had been used to set up high definition recording. Toru emphasised the value of Alpha NEX division working together with other Sony technologists.

“NEX-5 and NEX-3 are only the first two products to be offered by Sony in this emerging area. We believe that products based on the combination of a large imaging sensor and interchangeable lenses are not limited to NEX-5 and NEX-3; today, let me take the opportunity to reveal our second proposal to you briefly. As I am speaking now, a dedicated group of engineers is in the process of developing a new camcorder with the interchangeable lens system (he shows a mockup image).

“This camcorder will come with an EXMOR HD APS-C sensor for DSLR quality video in AVCHD form. Like the NEX-5 and NEX-3, with an adaptor, this new camcorder is also compatible with current Alpha lenses allowing videographers to access a wide range of high performance lenses to be used to express one’s creativity like never before.

“Needless to say, its body design is specially optimised for video shooting. Details of this product will be communicated soon, I’d say around the Autumn area, so please stay tuned. The combination of a large image sensor and interchangeable lenses can create whole new dimensions and expression and possibilities.

“To express our strength in such products, we would like to introduce the phrase “Beyond Our Eyes” which contains the following meanings – bringing new experiences, and style of unforeseen dimensions, that evoke deep emotions, and creating a visual world beyond how our eyes can see in both still photography and video.”

After this, the conference was officially over, and journalists were asked to re-convene for region specific in depth meetings. The meeting for the UK and Scandinavia was headed by Paul Genge of Sony UK. See next page.