Samsung reportedly launching several more Tizen-powered smartphones this year

Samsung is reportedly planning to launch several more smartphones powered by its Tizen operating system across multiple price points this year according to a person familiar with the matter as reported by Reuters.

The source said the phones would target a range of price points but failed to give any specifics due to the sensitivity of the matter.

If you recall, Samsung launched its first Tizen-powered smartphone in India early this year. The Korean electronics giant has already sold one million Z1s and according to market monitor Counterpoint, it was the best-selling smartphone in Bangladesh from January through March.

Tizen has been a long time in the making. Samsung handed out prototype Tizen handsets to developers way back in 2012 with the first wave of devices expected to arrive in the second half of the year, a date that came and went. In early 2013, Samsung released the NX300 mirrorless camera which ran Tizen (albeit hidden behind a custom interface to look like previous camera UIs).

The Gear 2 and Gear 2 Neo smartwatches hit the scene in April 2014 as the first consumer devices touted as running Tizen. The Linux-based OS will also power Samsung's entire smart TV lineup this year.

Rumors of a high-end Tizen smartphone from Samsung persist but to date, we haven't yet seen such a device materialize. In face, we probably won't see a flagship until Tizen has attracted enough developer support to build a proper app ecosystem.

Next

Codemasters releases new F1 2015 teaser trailer

Prev

Acer reveals 34-inch curved QHD FreeSync and G-Sync monitors

Source: Samsung reportedly launching several more Tizen-powered smartphones this year

How to Choose a Digital Camera

Digital cameras are trying hard to push back against the growth of smartphone photography. But few decisions are more complex than picking out the right digital camera among hundreds.

You could easily fill five articles of this length with the ins and outs of camera technology. With that in mind, this acts as a handy overview for the average shopper looking for a camera.

Digital camera types

Camera classifications aren't completely consistent, but it is possible to tease out some broad categories. There's some debate over these terms so consider them a rough guide to what you're going to find.

One step up from the smartphone you carry in your pocket are point-and-shoot cameras (sometimes just called compacts). People usually buy a point-and-shoot for the ability to zoom, or to have access to things like a better flash or faster autofocus than a smartphone can provide. What was once a vital market of $200-400 compact cameras has shriveled significantly because most people are happy using their phones and don't care much about the difference in quality. However, if you're willing to drop over $600, there are a few high-end compacts that provide near pro-quality results. These include the Sony RX100 series, and the Canon G7X.

At the top end are two different types of cameras. The traditional DSLR (digital single-lens reflex) offers the fastest autofocus, burst shooting rates, and flexibility in choosing from a wide range of lenses. However, they are large and heavy to carry around.

Mirrorless cameras have been slowly taking the place of DSLRs among enthusiasts because they are much more portable while offering the same overall image quality in many cases. They also often times offer more innovative features like 4K video recording or connectivity options. They're "mirrorless" because they don't use the mirrors inside DSLRs to reflect light into a viewfinder. That cuts down the size and weight dramatically, though they still have interchangeable lenses.

There's nothing to say ambitious beginners with enough cash shouldn't splash out on a DSLR or high-end mirrorless, but be prepared to do a lot of learning if you're going to get the most out of your new toy. Here's a handy video for just such a task!

Finally there are the bridge cameras (sometimes called superzooms). They offer a really long zoom range and some advanced features in a smaller body than a DSLR, and without the hassle of switching lenses. Most bridge cameras offer fairly low quality images, just like the languishing point-and-shoot category, but there are a few high-end options that create professional results. These include the Sony RX10, Panasonic FZ1000, and upcoming Canon G3X.

Choose a bridge camera if you have more money to spend and really want to shoot things that are far away. The high-end models mentioned above are also excellent for video, which makes them great options for do-it-all family photography.

Specifications explained

The biggest determining factor of image quality is your camera's sensor size. The sensor is the light-sensitive silicon chip that replaces film inside a digital camera. The bigger and more expensive your camera, the bigger and better the sensor is likely to be. Phones and most point-and-shoots use sensors that are a fraction of an inch in size. Their image quality is limited. Higher end compacts and bridge cameras use 1-inch sensors which are a significant step up. Mirrorless camera sensors and DSLRs have even larger sensors, with the cream of the crop being a full-frame 35mm sensor, which provides the best low light performance and overall quality.

Then there's the lens—on some cameras you can swap lenses out, while on others you're stuck with what you're given. You'll see reference to focal length, determining the lens' angle of view (shorter focal length means wider angles for your snaps).

The lens aperture (often an f-stop number) tells you how much light can enter the lens: Larger aperture openings (more light) have smaller f-numbers. If you buy a camera with a larger aperture you have more control over low light shooting and will be able to achieve blurrier out-of-focus backgrounds. Many lenses have aperture ranges, like f/3.5-5.6, which means zooming in sacrifices brightness. The highest quality lenses have constant aperture values throughout the zoom range, like f/2.8. But these lenses are typically bigger and much more expensive.

The number of megapixels a camera produces is a measure of an image's dimensions, and its importance depends on who you ask. Generally speaking, more megapixels gives you more flexibility—you can print at larger sizes and crop without losing too much quality—but for photos that only live on the web it's not such a crucial consideration. Most people are happy with the 8 megapixels on their iPhone.

Optical zoom is simply how far you can zoom in. Digital zoom will always sacrifice quality because it's basically just cropping the image.

The same goes for stabilization. Optical stabilization is superior because the lens elements actually move to compensate for shake. Digital stabilization manipulates the image and can sacrifice some quality.

ISO is a measure of how sensitive the sensor is to light. Companies will market the ISO range of a camera, and generally the wider the range the better your camera can shoot in low light, but the sensor size is still a much better determinant of low light capability. The smaller the sensor and ISO range, the more noise your images will have in the dark.

Burst rate tells you how many frames you can fire off in rapid succession. This can be anywhere from 4 fps (frames per second) to upward of 10 fps. If you are shooting fast moving subjects or fleeing children, a high burst rate might be beneficial.

Autofocus comes in two flavors. Phase detection is found on most DSLRs and is the superior system. Contrast detection is found on most mirrorless cameras and point-and-shoots. It isn't as good for tracking moving subjects, but it can still be extremely fast for general purpose shooting. Some mirrorless cameras have hybrid systems that offer very fast focusing. You might also see a camera advertised with how many AF points it has. The more the better. Also look for face and eye detection which is handy for shooting portraits.

Other features to consider

There are a few other features to weigh up before you part with your cash. A viewfinder that you put your eye to might be important to you, and not every camera features one. If you're the outdoorsy type, weather-proofing on the camera can be important for resistance to water and dust.

Wi-Fi is becoming standard on most new digital cameras, but GPS, like you get with your smartphone, is not as widely available because of the added cost.

Then of course there's price. You could just go out and find the best camera you can afford, but it's not always that simple—shortlist a few cameras and read as many reviews as you can, particular ones that include sample photographs (Flickr is another good resource for this). Don't put too much stock in the photos you see online. Remember, almost any camera can take really great photos, it's the skill of the photographer that counts.

Source: How to Choose a Digital Camera

Canon EF/EF-S Adaptor For Full Frame Mirrorless Patented

Canon EF/EF-S Adaptor For Full Frame Mirrorless Patented - Canon has recently patented a full frame mirrorless adaptor for EF/EF-S lenses.

Posted : 26 Jun 2015 9:52AM by ePHOTOzine 

 Add Comment

Canon has recently patented what appears to be an EF/EF-S adaptor for a full frame mirrorless camera.

This could suggest that a full-frame mirrorless camera from Canon might be on the cards in the future. The adapter appears to be designed to reduce the possibility of flare when using EF-S lenses with a full-frame sensor. The patent is translated from Japanese, but here's what's been patented:

Flange back is shorter body.

Flange back is long, a lens having the same image circle as the image pickup device body.

Flange back is long, a lens with a smaller image circle than the image pickup device body.

Mount adapter to change the diameter of the flare cut stop, depending on the image circle of mounting the lens.

[Via Canon Rumors]

Source: Canon EF/EF-S Adaptor For Full Frame Mirrorless Patented

How I Use the Fujifilm XT-1 for Documentary Wedding Photography

I'm a documentary wedding photographer, which means there's a certain way that I work, and a certain style to the photography I produce. The end product of which is an accurate, beautiful document of the single most important day thus far in a couple's life together. I want my clients to feel what they felt on their wedding day, years later when they're reminiscing with their album.To do that successfully, I need to get in close — really close — to the action. But I don't want people to feel uncomfortable being photographed, or indeed react to my presence. And almost as importantly, I need to be able to react quickly enough to capture those lightning little glances, touches and reactions. It's mentally exhausting. Keeping track of several conversations and movements in a room, as well as watching the bride and groom, following compositions in your head – it all takes it's toll after a few hours. But that's what makes this job so interesting and rewarding.

One of the tools that's helped me achieve this recently is the Fuji XT-1. It's a small mirrorless camera system that uses small interchangeable lenses. Now, as much as this may sound like an advert for that particular camera, it's not meant to be. This is about how such a small, lightweight camera, any small lightweight camera, can help in getting in close to the action at a wedding, and to quickly capture moments that might not have been caught with a bulkier DSLR camera.

My standard kit at a wedding is two Canon 5D Mark III cameras, with a 24mm and 50mm lens on them, respectively. I also carry a 135mm lens in a belt pouch that is rarely used before the speeches. I love using prime lenses, not only for the quality and superb low light capability, but because I know these focal lengths so well. I've been using them for years as a news photographer at The Times that I now mostly only see compositions in terms of these focal lengths.

I don't like using zoom lenses almost as much as I don't like changing lenses — the pictures I've missed with a lens in one hand and a naked camera body in the other! But I found that I was not getting the best compositions in certain situations. Especially in small spaces, the 24mm lens is just not wide enough. So rather than carry another lens in the pouch, and risk missing more pictures whilst swapping lenses (though I know a very good photographer who uses one camera body, and can change lenses as fast as I can switch cameras!) I started using a third camera, on a strap round my neck, dedicated to shooting these kind of wider compositions.

I use Spyder Holsters to hold my heavy Canon cameras on a waist belt. Moving the weight off my shoulders has been the single most useful thing I've done with my gear for years. So a neck strap is the only place I can really carry another camera. It has the advantage of being instantly available, and because it's so light has very little impact on me during a 12-hour day.

Lens choice was obvious. It needed to be wider than the 24mm. And it needed to be small enough to not add too much weight and bulk to the camera. There was the pretty capable Fuji 10-24mm (a full frame equivalent 15-36mm), but it's a large lens, and it's slow as well (f/4). There was also the Fuji 14mm — at f/2.8 it's still useful in low light, but at 21mm equivalent, still not quite wide enough for what I need it for.

So I chose a Samyang 12mm f/2 lens.

The size and weight are perfect, it's f/2 so good in low light and 18mm equivalent gives me enough width in composition without distorting too much. The major drawback is that it's a manual focus lens. I knew it would be hard to use for quick reaction pictures at a large aperture.

So I changed the way I use the camera, and instead of working mostly with large apertures for the lovely shallow depth of field you get, I stopped down to f/8 or f/11 and prefocused to give me the maximum depth of field. It means I don't need to worry about the focus, I can concentrate instead on the composition and the timing. And it's changed the way I see the world.

To get successful images using this setup, I need to pay a lot more attention to the composition. Since every element in the image is in focus, it's important to try and 'declutter' the image as best you can while still retaining a focal point.

The image above is one of my favorites with this camera recently. There's a lot going on in this picture. It's interesting to a casual observer, but even more so to my clients who know everyone in this image, and all the relevant relationships. I posted this in a photography forum for discussion of this particular camera, and the technique I'm describing now, and whilst it was generally liked, one particular comment told me it was a failure because the majority of the image was the back of a mans head. Thankfully my clients agreed with me on this one.

The conversations and interactions, the light and composition, all of this together work to bring a great sense of place and moment to this image. It's exactly the kind of picture that I spend all day looking for, and it's exactly the kind of picture my little XT-1 and Samyang lens allow me to capture.

Here's a good example of using the hyperfocal method described above, to allow me to just pick up the camera and shoot. As the Jenga tower wobbled, I grabbed the Fuji and shot a burst of 5 or 6 images. Of course, this picture is perfectly possible with the Canon, but I probably wouldn't have caught the moment as well. It wouldn't have been as wide for a start, but more importantly I would probably have shot this at f/1.4 resulting in a much narrower depth of field.

Again this shot below would have worked with the Canon and the 24mm, but I'd have missed the far left hand table with the lens not being as wide. Arguably I could have done with an even wide focal length than the Fuji's 18mm equivalent, but given that I don't carry a camera bag, and I want to be as mobile as possible, I just can't carry every lens I think I might need.

The extra width of this lens comes in handy in small hotel rooms too, where I just can't get far enough back to get the composition I need. I often use the focus aids of the XT-1 here, by zooming in on the electronic viewfinder and manually focusing at f/2. The subject isn't fast moving, so I have the luxury of shooting a slower shutter speed and lowering the ISO to increase the quality a little.

Another bonus of using the Fuji XT-1 that the Canons don't have is the articulated screen. This allows me to comfortably find low and high angles and use the tilt screen to fine tune the composition and timing. Again not impossible with DSLRs — just harder.

As with all things photography related, there are endless combinations of cameras and lenses, techniques and lighting. None of which is the right or wrong way to do it. I've found a way to photograph a wedding that I enjoy and thankfully one that appeals to enough of the population to make a living from. The cameras are merely tools, but as with everything, the right tool makes the job so much easier and more pleasurable.

Editor's note: If you enjoyed this piece, be sure to check out the guest post Rogers wrote last year about why couples should consider hiring a photojournalist to document their wedding.

About the author: Paul Rogers is a photojournalist based out of Hertfordshire, England. He has worked as an editorial photographer for The Times newspaper since 1998, and is also applying his talents to documentary wedding photography. Visit his website here. This article was also published here.

Source: How I Use the Fujifilm XT-1 for Documentary Wedding Photography

Canon EF/EF-S Adaptor For Full Frame Mirrorless Patented

Canon EF/EF-S Adaptor For Full Frame Mirrorless Patented - Canon has recently patented a full frame mirrorless adaptor for EF/EF-S lenses.

Posted : 26 Jun 2015 9:52AM by ePHOTOzine 

 Add Comment

Canon has recently patented what appears to be an EF/EF-S adaptor for a full frame mirrorless camera.

This could suggest that a full-frame mirrorless camera from Canon might be on the cards in the future. The adapter appears to be designed to reduce the possibility of flare when using EF-S lenses with a full-frame sensor. The patent is translated from Japanese, but here's what's been patented:

Flange back is shorter body.

Flange back is long, a lens having the same image circle as the image pickup device body.

Flange back is long, a lens with a smaller image circle than the image pickup device body.

Mount adapter to change the diameter of the flare cut stop, depending on the image circle of mounting the lens.

[Via Canon Rumors]

Source: Canon EF/EF-S Adaptor For Full Frame Mirrorless Patented

Samsung NX mini 2 leaked to bring 4K to mirrorless compact

JC Torres

It's been well over a year since Samsung brought the NX mini to light, a petite member of its mirrorless NX camera family. So it is no surprise to hear word that a successor is already close to being revealed. Named the NX mini 2, because what else would it be called, this mirrorless compact presents somewhat of a mixed bag, removing some features in exchange for new ones. The biggest draw for this mini camera, however, will be its ability to shoot 4K videos in such a small size.

4K video recording is becoming the new standard in digital cameras, which is well and good as it helps push this ultra high resolution forward by creating content that can be used on those fancy new 4K TVs and monitors. But while 4K is becoming commonplace among more powerful DSLRs, the feature isn't as widespread among small digital compacts, which could help th NX mini 2 appeal to more photographers.

Based on the leak, the compact is capable of shooting videos in 4K resolution but at a rather low 24 fps rate. This is accomplished by a new processing engine working with supposedly the same 20.5 megapixel sensor. Another new feature is the camera's display, which now uses Super AMOLED instead of an LCD screen. And yes, it is still selfie-friendly.

Samsung giveth but Samsung also taketh. While there is now a new retractable flash built-in, it seems that Samsung has removed the connector to attach an external flash as well. Quite curious is the decision to go with a lower 1820 mAh battery instead of the first NX mini's 2330 mAh, a bit ironic since you'd expect 4K recording to take a bigger toll on power. Even still photos are affected, since now only 400 shots are promised instead of the 650 of its predecessor.

Of course, all of these are based on leaked information, so we'll have to wait for the real deal to see how it all pans out. No word yet on launch date, though the price tag is noted to be 449 EUR, roughly $500. An interesting customization option is the camera's replaceable front covers, hinting that Samsung might also have a line of colorful accessories to sell.

SOURCE: cameranu.nlVIA: Mirrorless Rumors

Source: Samsung NX mini 2 leaked to bring 4K to mirrorless compact

Shooting wildlife with mirrorless camera? It's complicated

A few months ago, I tried to ditch my Nikon DSLR camera in favour of a mirrorless camera. DSLR cameras are the ultimate tools when it comes to photography. They are versatile and powerful. But at the same time, they are also bulky and it is a pain to carry them. Mirrorless cameras claim to offer performance similar to DSLR cameras in a package that is lighter and easier to carry. Consequently, they are also more fun to use.

After using the Nikon D3100 and Sony's A6000 mirrorless cameras side-by-side, I felt that while I enjoyed Sony's camera to shoot streets, for wildlife I preferred the D3100 attached to a 300mm lens. One of the reasons why the A6000 didn't work was its average quality kit lens. Sony took the feedback, disagreed with what I had written and invited me to try out the A6000 with their telephoto lens to shoot wildlife in a forest reserve in Karnataka.

For mirrorless cameras, wildlife shooting is the final frontier. These cameras already excel at street photography. Cameras like Sony A7, which has a full frame image sensor inside its compact body, also do wonderfully well at landscape photography because of excellent dynamic range they can capture. But Wildlife photography is more about speed than the pure quality and that is where most people still prefer a DSLR camera over a mirrorless camera. With the photo expedition in the Karnataka -- which was incidentally guided by professional photographer Dheeraj Paul who runs Indian Photo Tours -- the idea was to take the A6000 out of its comfort zone and use it to shoot fast--moving animals and birds.

So, what were the results? They were mixed. A mirrorless camera like A6000 offers some significant advantages over conventional DSLR cameras, even while shooting wildlife. But in some cases, it also has a few disadvantages.

First the advantages. Initially, when the mirrorless cameras appeared -- like Sony's early NEX range of cameras -- their design was somewhat unbalanced and holding them while clicking images was little cumbersome. In comparison DSLR cameras, with their chunky grip and well-balanced bodies, offer better stability while shooting. But this has changed now. Cameras like A6000 and A7 have bodies that, despite their relatively small and compact size, are perfectly balanced. They fit well in hands. But some issues remain. Extremely large lenses, such as Sony 70-400mm that can be used with E mount of A6000 may make the camera a little unbalanced for many shooters. If you use this combo for a while, you may get used to it but compared to the balance that a similar DSLR kit provides, it is somewhat lacking.

You can check the image samples here- Image 1, Image 2, Image 3, Image 4, Image 5, Image 6, Image 7

The mirrorless cameras have an advantage in terms of pure technology. In particular, two stand out -- real-time exposure info and focus peeking.

In a DSLR camera, you can guess the exposure but whether the photo will come out dark or overexposed is something you get to know after you have clicked the image. Or you have to keep track of the exposure meter -- the dotted line that shows the extent of over or under exposure. But in a mirrorless camera, you get what you see. This means you get to see the actual exposure before you click the image. The reason for this is because DSLR cameras have optical view finder while mirrorless cameras have the electronic viewfinder and hence can show preview of the image that camera would process after you press the shutter release button.

The electronic viewfinder can also show overlay information like histogram, which can again help a shooter get the exposure right. On a DSLR camera, you can see histogram only after you have clicked the image.

Focus peaking is available in both high-end DSLR and mirrorless cameras. But if you want it in your viewfinder, only the mirrorless cameras can offer it because they use electronic view finder. This mode of focus, which is only available while using manual focus, can be of incredible help when you are shooting, for example, a tiger hidden in grass. In these situations, almost all cameras will struggle to focus on tiger because of the grass around him but with focus peeking, it is easy to bring the big cat into sharp focus.

The issue, however, is that for someone already familiar with DSLR cameras, using a mirrorless camera requires unlearning a few things and that can be uncomfortable. At the same time, even though cameras like the A6000 have become extremely good and fast at focussing, a DSLR camera with top notch phase-detect focus mechanism still tracks fast moving animals better.

As someone who is used to a DSLR camera, I found myself in an unfamiliar territory while shooting fast animals with A6000. The end result was that many of the photos that were clicked were out of focus and had metering issues. In comparison, the shots clicked with the D3100 were better.

The lens part too is still a weak point for mirrorless cameras, though Sony is aggressively ramping up availability of lenses for its E mount. During the wildlife shoot the A6000 was used with 70-200 F4 Sony lens, which is excellent in terms of optical quality. It is one fantastic lens but the reach it provides is not enough really shoot animals. Instead, Sony's 70-400, which can be used on E mount, is a better bet. But at the same time, the E mount ecosystem is missing lenses like Tamron's 150-600, which are available for Nikon and Canon cameras. In fact, it is also available Sony's A series cameras such as A99, which are not mirrorless, but not for the E mount.

In the last piece about the A6000, the verdict was that it is a fantastic camera for daily or street shooting but for wildlife or action it wasn't good. So has anything changed now? Yes and no. I would still not part with my D3100 for A6000, especially when it comes to shooting wildlife. But that is mostly because of my familiarity with the Nikon ecosystem.

Mirrorless cameras have come a long way and now the cameras like Sony A6000, Sony A7 and Fujifilm XT-1 are excellent solutions that rival the capabilities of DSLR cameras. On the long end of the zoom -- read telephoto -- the availability of lenses is still lacking somewhat but at other focal ranges, extremely high-quality lenses are available to users. If you are thinking of switching from a good DSLR system to a mirrorless camera, I wouldn't recommend it. But in case of you are hoping to get your first serious camera, go ahead and try a mirrorless first before you make up your mind. It is possible that you may end up liking the compact and light mirrorless camera more than the bulky DSLRs.

Disclaimer: Sony India paid for the writer's visit and stay in Nagarhole for the photography tour.

Source: Shooting wildlife with mirrorless camera? It's complicated

With Internal 4K, the a7R II Is Sony’s New Flagship Mirrorless Camera

Home / New product / Shooting / Technology

With Internal 4K, the a7R II Is Sony's New Flagship Mirrorless Camera

By Bryant Frazer   /   Jun 19, 2015

Sony's just-announced a7R II mirrorless camera is looking to carve out a serious niche in the market, utilizing a brand-new 42-megapixel (7952×5304) full-frame back-illuminated CMOS sensor and offering on-board 4K UHD video recording.

The a7R II's 4K implementation uses XAVC S encoding at a bit rate of up to 100 Mbps, and filmmaker-friendly features include Picture Profile, S-Log2 Gamma and S-Gamut, timecode, and clean HDMI out. Sony said it had improved the amount of light collected by the new sensor through a "gapless on-chip lens design" and an "anti-reflective coating on the surface of the sensor's glass seal," allowing it to offer an expanded ISO range that peaks at 102400. The a7s, also a lust object for filmmakers, beats that with a high ISO of 409600, owing to larger photosites on a lower-resolution sensor—but the a7s does not record UHD video internally.

The a7R will shoot in two modes: in Super 35mm crop mode, the camera oversamples its 4K image from a region of the sensor with about 15 megapixels (5168×2912), or 1.8x as many pixels as UHD (3840×2160), to reduce moiré and aliasing without pixel-binning; in full-frame mode, the full width of the 35mm sensor is used to create the 4K image. Many users are expecting that the full-frame 4K mode will seriously reduce the visibility of rolling-shutter artifacts. We'll see.

Sony released this sample of 4K video from the a7R II.

The camera body is built from magnesium alloy for sturdiness and has a new XGA OLED viewfinder with a double-sided aspherical lens for a 0.78x magnification factor. For monitoring, Sony introduced the CLM-FHD5, a five-inch LCD monitor with peaking, false-color and S-Log display assist options. The a7R II also has a five-way image-stabilization system that will help address rotational shake, or roll, in video recording.

What's missing? Well, the a7R II will never be the low-light king. That honor remains with the a7s, which trades resolution (its sensor is only 12 megapixels) for big gains in sensitivity. It'll never be your slow-motion camera, and it won't do 60p UHD, either—the UHD recording is limited, unfortunately, to 24p, 25p, and 30p. 

In related news, Sony said its expanding line of alpha-mount glass now includes 12 full-frame lenses, with the number expected to climb to 20 by early 2016. 

Sony says the a7R II will ship in August for a price of about $3,200.

Sony Digital Imaging Global Site: www.sony.net

No Comments

Categories: New product, Shooting, Technology Tags: 4K, a7r ii, mirrorless, Sony, uhd

Source: With Internal 4K, the a7R II Is Sony's New Flagship Mirrorless Camera

Fujifilm X-T10: Superb mid-range mirrorless camera

If the excellent flagship Fujifilm X-T1 mirrorless camera is beyond your budget, consider its newer and more affordable cousin, the X-T10.

Like the X-T1, the X-T10 uses a 16.3-megapixel X-Trans APS-C CMOS image sensor and has the same retro SLR design. It comes in silver or black. We reviewed the black model with the XF 18-55mm f/2.8-4 lens.

Unlike the X-T1, the X-T10 is not weather-sealed, but its magnesium alloy construction is superb. It is smaller and 59g lighter than the X-T1, and costs $700 less.

Its electronic viewfinder is smaller and the 3-inch tiltable display is fractionally lower in resolution (920,000 dots versus X-T1's 1.04 million dots). But it has an integrated flash, which is not found in the X-T1.

The X-T10 has almost the same retro-styling and button layout as its big brother. At the top right sits an exposure compensation dial, a power switch that surrounds the shutter release, and a shutter speed dial. Below the dial is a small lever that lets you switch to Automatic mode. At the back, a dial near the thumb rest lets you toggle through such customised scene modes as SR Auto, Portrait or Beauty when you are in Automatic mode.

A drive mode dial, on the top left, lets you choose single or continuous low/high shooting speeds, as well as panorama and multiple exposures.

However, these top dials lack the lock buttons found on the X-T1's dials. Thankfully, the X-T10's dials do not move easily.

On the downside, the X-T10 lacks a dedicated sensitivity dial for quick changes of ISO settings and its grip cannot accommodate all my fingers.

But overall, it handles really well and it is a speedy camera. Powering up takes only 0.5sec; shutdown takes about 1.1sec, compared with the usual 2sec needed for each process in other similar cameras.

Fujifilm says that the X-T10 has 77 autofocusing (AF) phase-detection points on top of its image sensor to complement contrast-detection AF for a faster and more accurate AF. You can also use X-T10's zone AF modes, in which the focusing points will track a speeding kid as he dashes across the frame.

The results: In bright sunlight, the X-T10 locked on to a focus almost instantaneously; in dim conditions, it managed a sharp focus within 1sec with the aid of AF assist light.

Using an SD card with a writing speed rated at 10MB per second, the X-T10 shot seven RAW images in 0.8sec before the buffer ran out. Shutter lag was negligible.

As it has the same image sensor as the X-T1, image quality was unsurprisingly excellent, with sharp rendition of pixels and vivid colour reproduction. Pictures have good dynamic range, allowing details to show even in the shadow areas.

ISO performance is equally brilliant. Image noise is not really visible until at ISO 3,200. Only at ISO 6,400 do noise artefacts appear, and even shots at ISO 12,800 are still good enough for small prints and Web use. But that is the limit.

Video quality is great and it does not pick up much ambient or wind audio.

Its battery life - 350 still frames on a full charge - is average.

Other than a few minor quirks and a battery life no better than average, the X-T10 is a superb mid-range camera in Fujifilm's X mirrorless series.

trevtan@sph.com.sg

This article was first published in The Straits Times Digital Life on June 17, 2015.

Source: Fujifilm X-T10: Superb mid-range mirrorless camera

With Internal 4K, the a7R II Is Sony’s New Flagship Mirrorless Camera

Sony's just-announced a7R II mirrorless camera is looking to carve out a serious niche in the market, utilizing a brand-new 42-megapixel (7952×5304) full-frame back-illuminated CMOS sensor and offering on-board 4K UHD video recording.

The a7R II's 4K implementation uses XAVC S encoding at a bit rate of up to 100 Mbps, and filmmaker-friendly features include Picture Profile, S-Log2 Gamma and S-Gamut, timecode, and clean HDMI out. Sony said it had improved the amount of light collected by the new sensor through a "gapless on-chip lens design" and an "anti-reflective coating on the surface of the sensor's glass seal," allowing it to offer an expanded ISO range that peaks at 102400. The a7s, also a lust object for filmmakers, beats that with a high ISO of 409600, owing to larger photosites on a lower-resolution sensor—but the a7s does not record UHD video internally.

The a7R will shoot in two modes: in Super 35mm crop mode, the camera oversamples its 4K image from a region of the sensor with about 15 megapixels (5168×2912), or 1.8x as many pixels as UHD (3840×2160), to reduce moiré and aliasing without pixel-binning; in full-frame mode, the full width of the 35mm sensor is used to create the 4K image. Many users are expecting that the full-frame 4K mode will seriously reduce the visibility of rolling-shutter artifacts. We'll see.

Sony released this sample of 4K video from the a7R II.

The camera body is built from magnesium alloy for sturdiness and has a new XGA OLED viewfinder with a double-sided aspherical lens for a 0.78x magnification factor. For monitoring, Sony introduced the CLM-FHD5, a five-inch LCD monitor with peaking, false-color and S-Log display assist options. The a7R II also has a five-way image-stabilization system that will help address rotational shake, or roll, in video recording.

What's missing? Well, the a7R II will never be the low-light king. That honor remains with the a7s, which trades resolution (its sensor is only 12 megapixels) for big gains in sensitivity. It'll never be your slow-motion camera, and it won't do 60p UHD, either—the UHD recording is limited, unfortunately, to 24p, 25p, and 30p. 

In related news, Sony said its expanding line of alpha-mount glass now includes 12 full-frame lenses, with the number expected to climb to 20 by early 2016. 

Sony says the a7R II will ship in August for a price of about $3,200.

Source: With Internal 4K, the a7R II Is Sony's New Flagship Mirrorless Camera

Canon doubles down on high-end point-and-shoots with the G3 X

What's This?

The Canon G3 X is a point-and-shoot with impressive specs, including a 25x zoom.

Image: Canon

By Pete Pachal2015-06-18 16:46:57 UTC

As mirrorless cameras rise in quality and popularity, Canon is continuing to more or less ignore the category, and is instead doubling down on its high-end G series point-and-shoots. The new shooter in town is the G3 X, which boasts more pixels, more modes and more features. It also costs more dollars.

The Canon G3 X costs $999.99, which is $200 more than the company's current flagship: the G1 X Mark II at $799.99. However, the G3 X doesn't knock its predecessor from the top spot, mainly because its 1-inch 20.2-megapixel sensor is smaller than the 1.5-inch 12.8MP sensor on the the G1 X Mark II.

The G3 X brings plenty of other stuff to the table, though: The highlight is its 25x optical zoom — the highest we've seen so far in the G series. Its retractable lens can go from 24mm to 600mm (f/2.8-5.6 aperture), which would result in a huge, heavy lens in the DSLR world, but the G3 X stays nice and pocketable. In addition, five-axis image stabilization will help compensate for shaky hands during those extreme close-ups.

Bugwatchers will love the G3 X's impressive macro photography abilities: You can be as close as 2 inches away from a subject, and still get sharp pics, Canon claims. An max ISO rating of 12,800 helps in low light.

The 3.2-inch rear LCD is extremely sharp, with 1MP resolution, and it conveniently tilts to help with those hard-to-get arm's-length shots. For even harder-to-get shots, you can pair your phone with the G3 X and use it as a remote viewfinder, snapping your photo from even further away.

Canon equipped the G3 X with a hot shoe as well, so you can add on accessories, such as an external flash, microphone or wireless flash controller.

That's a lot of camera technology in a relatively small package, although you can be well on your way to a great mirrorless camera for about the same price. At least then you'll be able to switch out lenses. Which way you go depends largely on whether you want a camera or a camera system.

The Canon G3 X ships in July.

The Canon G3 X boasts a high-res LCD that can tilt 180 degrees for easy selfies.

Have something to add to this story? Share it in the comments.

Source: Canon doubles down on high-end point-and-shoots with the G3 X

See the future in a mirrorless camera

Sony attributes the improvement in mirrorless sales to new, young photographers going into the camera shops without the DSLR prejudice of their elders. Photo: iStock

IMAGING

At the launch of Panasonic's Lumix G7 (reviewed today) last month, the company was pleased to tell us that sales of mirrorless interchangeable lens cameras are on the up and up. This time last year the mirrorless share of the interchangeable lens market, which includes digital single-lens reflex cameras, was 25 per cent; this year it is 35 per cent.

From the US, Sony reports that mirrorless sales are up 16.5 per cent, and the company's revenue from this camera type increased by 66 per cent over the past year. This is still way short of the global market share of 25 per cent for mirrorless, but it is a big turnaround in "bigger-is-better" America. Sony attributes the improvement in US sales to new, young photographers going into the camera shops without the DSLR prejudice of their elders.

Panasonic Lumix G7.

Panasonic is now out of the DSLR business altogether and it looks as though Olympus is putting all its eggs in the mirrorless basket. There is no longer a DSLR advertised on the Olympus Australia website and the recent release of its magnificent m.Zuiko Pro range of lenses suggests that micro four-thirds is their future.

Advertisement

Samsung and Fujifilm also appear to have abandoned the DSLR form with the Fujifilm XT-1 and the Samsung NX-1, both mirrorless, now their flagship cameras.

Canon and Nikon continue to dominate the market for interchangeable lens cameras, but they each have mirrorless models in their catalogues; although in the case of Canon, it has just one model – the excellent M3 – that it doesn't sell in the US.

Sony has launched an advertising blitz for its alpha range of mirrorless cameras that you may have seen on TV. For reasons best known to the advertising agency, a huge mirror was set up in the Namibian desert (we don't have deserts here?) and was filmed being broken. The message may be too subtle for the uninformed and uninterested TV watcher, but hey! This is advertising. You can see the ad here.

Olympus US has produced a mockumentary warning against the misery of DSL-ARM – the embarrassing phenomenon of the elongated arm caused by lugging a heavy DSLR around. Watch poor, stupid Paul trying to adjust to life with a right hand that drags on the ground.

So, the figures suggest Australia is the place to be if you want to be taken seriously with a small, mirrorless camera. We may congratulate ourselves on our good sense.

REVIEW

PANASONIC LUMIX G7Price: $880 w 14-42mm kit lens (street price)

The best of both

THE LOW-DOWN This 16-megapixel micro four-thirds mirrorless interchangeable lens camera brings many of the features of the $2500 GH4 to a more affordable form. The G7 incorporates the 4K ultra-high-definition video mode of the more expensive camera. There is a 4K stills mode that takes a sort of stop motion video of individual 8-megapixel frames to capture action. And the camera can anticipate the decisive moment – it has a "PreBurst" short buffer that begins recording before the shutter is released. You need to see it to understand it. The viewfinder is very high resolution and the LCD is touch sensitive. Panasonic's Wi-Fi control from phone or tablet is the best in the business. The camera is light and small.

LIKE The 4K video output is stunning. We were able to edit and display the UHD video on the new 5K iMac, even displaying the 4K picture at the iMac's full-screen mode, and the results are amazing. There is a microphone socket so that the audio quality can match the video.

DISLIKE Such a refined camera should not have the memory card slot in the battery compartment where it cannot be accessed when the camera is on a tripod.

VERDICT Some years ago we reviewed one of the first hybrid stills/video cameras – also from Panasonic – and confidently predicted that it was a fiasco that would never fly. It was impossible, we said, to combine the two functions in a single camera without compromising both. OK. We were wrong. It is possible. And it has been done. With the Panasonic G7 you get the best of both at a remarkably reasonable price. And the Australian price is the same as in the US – buy locally!

Source: See the future in a mirrorless camera

Think Tank Photo launches Trifecta 10 DSLR and Trifecta 8 Mirrorless backpacks

Think Tank Photo has launched two new bags, the Trifecta 10 DSLR Backpack and Trifecta 8 Mirrorless Backpack. Both backpacks are designed to hold a photographer's 'workhorse' lenses, including ultra-wide, mid-range, and telephoto zoom lenses. As the names indicate, the bags are designed to accommodate DSLR and mirrorless systems.

The Trifecta 8 Mirrorless Backpack can hold a camera body with a lens attached, as well as up to five more lenses and up to an 8" tablet. The Trifecta 10 DSLR Backpack, meanwhile, can hold a DSLR with attached lens, up to four additional lenses, and up to a 10" tablet. The backpacks are made with a sling design that allows photographers to access the bag's contents from either the right or the left side without needing to remove the backpack.

A rear panel allows full access to stowed gear, and a compartment at the top is available for 'lunch or other essentials'. The exterior fabric has a water-repellant coating for water resistance, and the interior includes removable foam dividers. Both bags are available now; the Trifecta 10 DSLR Backpack is priced at $159.75 USD, and the Trifecta 8 Mirrorless Backpack is priced at $139.75 USD.

Source: Think Tank Photo launches Trifecta 10 DSLR and Trifecta 8 Mirrorless backpacks

Mirrorless Camera features back-illuminated CMOS sensor.

Sony's Flagship Mirrorless Camera Features 42.4 MP Back-illuminated CMOS sensor, In-camera 5-axis Image Stabilization, Internal 4K Video Recording, Silent Shooting, Fast Hybrid AF and more

NEW YORK -- Sony Electronics, a worldwide leader in digital imaging and the world's largest image sensor manufacturer, has today introduced their new flagship full-frame mirrorless camera, the a7R II (model ILCE-7RM2). 

The new a7R II interchangeable lens camera features the world's first back-illuminated full-frame Exmor R CMOS sensor, which realizes high resolution (42.4 MP approx. effective megapixels), high sensitivity (expandable up to ISO 102400) and high speed AF response up to 40% faster than the original a7R thanks to 399 focal plane phase detection AF points. 

The camera also includes a 5-axis image stabilization system borrowed from the acclaimed a7 II model and can shoot and record 4K video in multiple formats including Super 35mm (without pixel binning) and full- frame format, a world's first for digital cameras.  Additionally, it has a newly refined XGA OLED Tru-Finder with the world's highest (0.78x) viewfinder magnification.

"Sony continues to deliver game-changing imaging products that are changing the way imaging enthusiasts, hobbyists and professionals can see and capture the world," said Mike Fasulo, President of Sony Electronics. 

Kimio Maki, Senior General Manager of Digital imaging Business Group for Sony Corporation, added "By harmonizing high resolution, sensitivity and speed, we're delivering a high-level full-frame imaging experience unlike anything else in market today, with Sony's newly developed, world's first back-illuminated 35mm full frame CMOS sensor." 

High Resolution, High Sensitivity and High-Speed Response

The newly developed 42.4 MP back-illuminated CMOS sensor is the most advanced, versatile and highest resolution full-frame image sensor that Sony has ever created, allowing the a7R II to reach new levels of quality, sensitivity and response speed.  In the past, many photographers have been forced to choose between high-resolution and high-speed or high resolution and high sensitivity when selecting a camera.  The new a7R II eliminates that sacrifice thanks to its innovative image sensor.

The 42.4 MP sensor combines gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor's glass seal to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range.  This allows the camera to shoot at an impressive ISO range of 100 to 25600 that is expandable to ISO 50 to 102400.

Additionally, the sensor's back-illuminated structure, with an expanded circuit scale and copper wiring design, enables faster transmission speed and ensures content can be captured in high resolution without sacrificing sensitivity.  Data can also be output from the sensor at an approximately 3.5x faster rate compared to the original a7R. 

An ideal match for Sony's extensive collection of FE lenses (35mm full-frame compatible E-mount lenses), the new a7R II features a high-speed BIONZ X image processing engine that allows images and video from the camera to be captured with supreme details and low noise.  There is also no optical low pass filter on the camera, ensuring that scenery and landscapes are captured in the highest possible resolution and clarity. 

The a7R II has a new highly durable reduced-vibration shutter that realizes 50% less vibration from shutter movements compared to its predecessor, and has a cycle durability of approximately 500,000 shots.  The camera can also be set to Silent Shooting mode in order to shoot images quietly without any sensor vibration or movement.   

The new image sensor features 399 focal-plane phase-detection AF points - the world's widest AF coverage on a full-frame sensor - that work together with 25 cont rast AF points to achieve focus response that is about 40% faster than the original model.  The a7R II utilizes an advanced motion-detection algorithm combined with this Fast Hybrid AF system to achieve up to 5fps continuous shooting with AF tracking. 

Additionally, the focal plane phase-detection AF system on the a7R II works well with Sony A-mount lenses when they are mounted on the camera using an LA-EA3 or LA-EA1 mount adapter.  This allows users to enjoy the wide AF coverage of 399 focal plane phase-detection AF points, high-speed response and high tracking performance with a wider range of lenses.  This marks the first time that the AF system of a mirrorless camera can achieve high performance with lenses originally designed for DSLRs.

5-Axis Image Stabilization Optimized for 42.4 MP

The new flagship a7R II model is equipped with an innovative 5-axis image stabilization system that has been fine-tuned to support its high-resolution shooting capacity.  Si milar to the system launched on the acclaimed a7 II model, this advanced form of image stabilization corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) that tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects video recording.  This camera shake compensation system is equivalent to shooting at a shutter speed approximately 4.5 steps faster.

Additionally, the 5-axis stabilization works cooperatively with Sony alpha lenses with optical SteadyShot(TM) (OSS) to provide maximum stabilization and clarity, while also performing admirably via a compatible mount adapter with Sony alpha A-mount lenses without on-board stabilization.  Effects of the stabilization can be previewed via live-view on the LCD or OLED viewfinder of the camera.    

Unrivaled 4K Movie Shooting Performance

The impressive video credentials of Sony's new a7R II camera include the ability to record movies in 4K quality (QFHD 3840x2160) in either Super 35mm crop mode or full-frame mode. 

In Super 35mm mode, the camera collects a wealth of information from approximately 1.8x as many pixels as 4K by using full pixel readout without pixel binning and oversamples the information to produce 4K movies with minimal moire and 'jaggies'.

In full-frame mode, the a7R II utilizes the full width of the 35mm sensor for 4K recording, allowing users to utilize the expanded expressive power of the sensor.  It is the world's first digital camera to offer this in-camera full-frame format 4K recording capacity.

The camera utilizes the advanced XAVC S codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting. 

Additionally, the a7R II model features a variety of functions to support a professional video workflow including Picture Profile, S-Log2 G amma and S-Gamut, 120fps high frame rate movie shooting in HD (720p), time code, clean HDMI output and more. 

Enhanced Design, Operability and Reliability

The new full-frame a7R II has an upgraded XGA OLED Tru-Finder(TM) with a double-sided aspherical lens that delivers the world's highest viewfinder magnification of 0.78x for crystal clear image preview and playback across the entire display area.  ZEISS®  T* Coating is also utilized to reduce unwanted reflections that interfere with the shooting experience.

The camera has an extremely solid, professional feel in-hand thanks to its light, rigid magnesium alloy design, and has a re-designed grip and shutter button compared to its predecessor.  There is also a new mechanism to conveniently lock the mode dial, and an expanded range of customizable functions and buttons to suit the most demanding photographers.   

The new a7R II camera is Wi-Fi(®) and NFC compatible and fully functional with Sony's Play Memories Mobile(TM) application available for Android((TM)) and iOS platforms, as well as Sony's growing range of PlayMemories Camera Apps(TM), which add a range of creative capabilities to the camera.  For example, there is more creativity available now for time-lapse photography thanks to a new "Angle Shift add-on" app allows users to easily add pan, tilt and zoom to time-lapse images without any additional shooting equipment or PC software required.  Learn more at www.sony.net/pmca.

Sony has also introduced a new LCD monitor model CLM-FHD5, an ideal companion to the a7R II for video shooting.  A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting. 

Pricing and Availability

The Sony a7R II full-frame interchangeable lens camera will be available in August for about $3200 at  www.store.sony.com and a variety of Sony authorized dealers nationwide.   

The a7R II is compatible with Sony's growing lineup of alpha-mount lenses, which now totals 63 different models including 12 native 'FE' full frame lenses.  By early 2016, Sony will add an additional 8 new lenses to its FE full frame lineup, bringing the FE total to 20 lenses and the overall alpha-mount assortment to 70 different models.

A variety of exclusive stories and exciting new content shot with the flagship a7R II camera and other Sony alpha products can be found at www.sony.com/alpha, Sony's new community site built to educate, inspire and showcase all fans and customers of the Sony a brand. 

The new content will also be posted directly at Sony global sites https://www.youtube.com/c/ImagingbySony and https://www.sony.net/Product/di_photo_gallery/.

Please follow #SonyAlpha on twitter for the latest alpha camera news.

CONTACT:Matt ParnellSony Electronics Inc.(858) 942 -7975matt.parnell@am.sony.com

Web Site: http://www.sony.com/news

Source: Mirrorless Camera features back-illuminated CMOS sensor.

Photography News: Sony’s New a7R II Camera

Posted by: : Shayne HeffernanPosted on: June 13, 2015

Photography News: Sony's New a7R II Camera

Sony Electronics, a worldwide leader in digital imaging and the world's largest image sensor manufacturer, has today introduced their new flagship full-frame mirrorless camera, the a7R II (model ILCE-7RM2).

The new a7R II interchangeable lens camera features the world's first back-illuminated full-frame Exmor R CMOS sensor, which realizes high resolution (42.4 MP approx. effective megapixels), high sensitivity (expandable up to ISO 102400) and high speed AF response up to 40% faster than the original a7R thanks to 399 focal plane phase detection AF points.

The camera also includes a 5-axis image stabilization system borrowed from the acclaimed a7 II model and can shoot and record 4K video in multiple formats including Super 35mm (without pixel binning) and full-frame format, a world's first for digital cameras. Additionally, it has a newly refined XGA OLED Tru-Finder with the world's highest (0.78x) viewfinder magnification.

"Sony continues to deliver game-changing imaging products that are changing the way imaging enthusiasts, hobbyists and professionals can see and capture the world," said Mike Fasulo, President of Sony Electronics.

Kimio Maki, Senior General Manager of Digital imaging Business Group for Sony Corporation, added "By harmonizing high resolution, sensitivity and speed, we're delivering a high-level full-frame imaging experience unlike anything else in market today, with Sony's newly developed, world's first back-illuminated 35mm full frame CMOS sensor."

High Resolution, High Sensitivity and High-Speed Response

The newly developed 42.4 MP back-illuminated CMOS sensor is the most advanced, versatile and highest resolution full-frame image sensor that Sony has ever created, allowing the a7R II to reach new levels of quality, sensitivity and response speed. In the past, many photographers have been forced to choose between high-resolution and high-speed or high resolution and high sensitivity when selecting a camera. The new a7R II eliminates that sacrifice thanks to its innovative image sensor.

The 42.4 MP sensor combines gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor's glass seal to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range. This allows the camera to shoot at an impressive ISO range of 100 to 25600 that is expandable to ISO 50 to 102400.

Additionally, the sensor's back-illuminated structure, with an expanded circuit scale and copper wiring design, enables faster transmission speed and ensures content can be captured in high resolution without sacrificing sensitivity. Data can also be output from the sensor at an approximately 3.5x faster rate compared to the original a7R.

An ideal match for Sony's extensive collection of FE lenses (35mm full-frame compatible E-mount lenses), the new a7R II features a high-speed BIONZ X image processing engine that allows images and video from the camera to be captured with supreme details and low noise. There is also no optical low pass filter on the camera, ensuring that scenery and landscapes are captured in the highest possible resolution and clarity.

The a7R II has a new highly durable reduced-vibration shutter that realizes 50% less vibration from shutter movements compared to its predecessor, and has a cycle durability of approximately 500,000 shots. The camera can also be set to Silent Shooting mode in order to shoot images quietly without any sensor vibration or movement.

The new image sensor features 399 focal-plane phase-detection AF points – the world's widest AF coverage on a full-frame sensor – that work together with 25 contrast AF points to achieve focus response that is about 40% faster than the original model. The a7R II utilizes an advanced motion-detection algorithm combined with this Fast Hybrid AF system to achieve up to 5fps continuous shooting with AF tracking.

Additionally, the focal plane phase-detection AF system on the a7R II works well with Sony A-mount lenses when they are mounted on the camera using an LA-EA3 or LA-EA1 mount adapter. This allows users to enjoy the wide AF coverage of 399 focal plane phase-detection AF points, high-speed response and high tracking performance with a wider range of lenses. This marks the first time that the AF system of a mirrorless camera can achieve high performance with lenses originally designed for DSLRs.

5-Axis Image Stabilization Optimized for 42.4 MP

The new flagship a7R II model is equipped with an innovative 5-axis image stabilization system that has been fine-tuned to support its high-resolution shooting capacity. Similar to the system launched on the acclaimed a7 II model, this advanced form of image stabilization corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) that tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects video recording. This camera shake compensation system is equivalent to shooting at a shutter speed approximately 4.5 steps faster.

Additionally, the 5-axis stabilization works cooperatively with Sony alpha lenses with optical SteadyShot™ (OSS) to provide maximum stabilization and clarity, while also performing admirably via a compatible mount adapter with Sony alpha A-mount lenses without on-board stabilization. Effects of the stabilization can be previewed via live-view on the LCD or OLED viewfinder of the camera.

Unrivaled 4K Movie Shooting Performance

The impressive video credentials of Sony's new a7R II camera include the ability to record movies in 4K quality (QFHD 3840×2160) in either Super 35mm crop mode or full-frame mode.

In Super 35mm mode, the camera collects a wealth of information from approximately 1.8x as many pixels as 4K by using full pixel readout without pixel binning and oversamples the information to produce 4K movies with minimal moire and 'jaggies'.

In full-frame mode, the a7R II utilizes the full width of the 35mm sensor for 4K recording, allowing users to utilize the expanded expressive power of the sensor. It is the world's first digital camera to offer this in-camera full-frame format 4K recording capacity.

The camera utilizes the advanced XAVC S codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting.

Additionally, the a7R II model features a variety of functions to support a professional video workflow including Picture Profile, S-Log2 Gamma and S-Gamut, 120fps high frame rate movie shooting in HD (720p), time code, clean HDMI output and more.

Enhanced Design, Operability and Reliability

The new full-frame a7R II has an upgraded XGA OLED Tru-Finder™ with a double-sided aspherical lens that delivers the world's highest viewfinder magnification of 0.78x for crystal clear image preview and playback across the entire display area. ZEISS® T* Coating is also utilized to reduce unwanted reflections that interfere with the shooting experience.

The camera has an extremely solid, professional feel in-hand thanks to its light, rigid magnesium alloy design, and has a re-designed grip and shutter button compared to its predecessor. There is also a new mechanism to conveniently lock the mode dial, and an expanded range of customizable functions and buttons to suit the most demanding photographers.

The new a7R II camera is Wi-Fi® and NFC compatible and fully functional with Sony's PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony's growing range of PlayMemories Camera Apps™, which add a range of creative capabilities to the camera. For example, there is more creativity available now for time-lapse photography thanks to a new "Angle Shift add-on" app allows users to easily add pan, tilt and zoom to time-lapse images without any additional shooting equipment or PC software required. Learn more at www.sony.net/pmca.

Sony has also introduced a new LCD monitor model CLM-FHD5, an ideal companion to the a7R II for video shooting. A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting.

Pricing and Availability

The Sony a7R II full-frame interchangeable lens camera will be available in August for about $3200 at www.store.sony.com and a variety of Sony authorized dealers nationwide.

The a7R II is compatible with Sony's growing lineup of alpha-mount lenses, which now totals 63 different models including 12 native 'FE' full frame lenses. By early 2016, Sony will add an additional 8 new lenses to its FE full frame lineup, bringing the FE total to 20 lenses and the overall alpha-mount assortment to 70 different models.

A variety of exclusive stories and exciting new content shot with the flagship a7R II camera and other Sony alpha products can be found at www.sony.com/alpha, Sony's new community site built to educate, inspire and showcase all fans and customers of the Sony a brand.

The following two tabs change content below. Shayne Heffernan holds a Ph.D. in Economics and brings with him over 25 years of trading experience in Asia and hands on experience in Venture Capital, he has been involved in several start ups that have seen market capitalization over $500m and 1 that reach a peak market cap of $15b. He has managed and overseen start ups in Mining, Shipping, Technology and Financial Services. Trade FX, Equities and Options with the World's Leading Platform Open an account here , call us at 305 4904 116, or email us to get started.
Source: Photography News: Sony's New a7R II Camera

Sony's New a7R II Camera Delivers Innovative Imaging Experience With World's First Back-Illuminated 35mm Full-Frame Sensor

Friday, June 12, 2015:  Sony Electronics, a worldwide leader in digital imaging and the world's largest image sensor manufacturer, has today introduced their new flagship full-frame mirrorless camera, the a7R II (model ILCE-7RM2).

The new a7R II interchangeable lens camera features the world's first back-illuminated full-frame Exmor R CMOS sensor, which realizes high resolution (42.4 MP approx. effective megapixels), high sensitivity (expandable up to ISO 102400) and high speed AF response up to 40% faster than the original a7R thanks to 399 focal plane phase detection AF points.

The camera also includes a 5-axis image stabilization system borrowed from the acclaimed a7 II model and can shoot and record 4K video in multiple formats including Super 35mm (without pixel binning) and full-frame format, a world's first for digital cameras. Additionally, it has a newly refined XGA OLED Tru-Finder with the world's highest (0.78x) viewfinder magnification.

"Sony continues to deliver game-changing imaging products that are changing the way imaging enthusiasts, hobbyists and professionals can see and capture the world," said Mike Fasulo, President of Sony Electronics.

Kimio Maki, Senior General Mana ger of Digital imaging Business Group for Sony Corporation, added "By harmonizing high resolution, sensitivity and speed, we're delivering a high-level full-frame imaging experience unlike anything else in market today, with Sony's newly developed, world's first back-illuminated 35mm full frame CMOS sensor."

High Resolution, High Sensitivity and High-Speed Response

The newly developed 42.4 MP back-illuminated CMOS sensor is the most advanced, versatile and highest resolution full-frame image sensor that Sony has ever created, allowing the a7R II to reach new levels of quality, sensitivity and response speed. In the past, many photographers have been forced to choose between high-resolution and high-speed or high resolution and high sensitivity when selecting a camera. The new a7R II eliminates that sacrifice thanks to its innovative image sensor.

The 42.4 MP sensor combines gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor's glass seal to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range. This allows the camera to shoot at an impressive ISO range of 100 to 25600 that is expandable to ISO 50 to 102400.

Additionally, the sensor's back-illuminated structure, with an expanded circuit scale and copper wiring design, enables faster transmission speed and ensures content can be captured in high resolution without sacrificing sensitivity. Data can also be output from the sensor at an approximately 3.5x faster rate compared to the original a7R.

An ideal match for Sony's extensive collection of FE lenses (35mm full-frame compatible E-mount lenses), the new a7R II features a high-speed BIONZ X image processing engine that allows images and video from the camera to be captured with supreme details and low noise. There is also no optical low pass filter on the camera, ensuring that scenery and landscapes are captured in the h ighest possible resolution and clarity.

The a7R II has a new highly durable reduced-vibration shutter that realizes 50% less vibration from shutter movements compared to its predecessor, and has a cycle durability of approximately 500,000 shots. The camera can also be set to Silent Shooting mode in order to shoot images quietly without any sensor vibration or movement.

The new image sensor features 399 focal-plane phase-detection AF points – the world's widest AF coverage on a full-frame sensor – that work together with 25 contrast AF points to achieve focus response that is about 40% faster than the original model. The a7R II utilizes an advanced motion-detection algorithm combined with this Fast Hybrid AF system to achieve up to 5fps continuous shooting with AF tracking.

Additionally, the focal plane phase-detection AF system on the a7R II works well with Sony A-mount lenses when they are mounted on the camera using an LA-EA3 or LA-EA1 mount adapter. This all ows users to enjoy the wide AF coverage of 399 focal plane phase-detection AF points, high-speed response and high tracking performance with a wider range of lenses. This marks the first time that the AF system of a mirrorless camera can achieve high performance with lenses originally designed for DSLRs.

5-Axis Image Stabilization Optimized for 42.4 MP

The new flagship a7R II model is equipped with an innovative 5-axis image stabilization system that has been fine-tuned to support its high-resolution shooting capacity. Similar to the system launched on the acclaimed a7 II model, this advanced form of image stabilization corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) that tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects video recording. This camera shake compensation system is equivalent to shooting at a shutte r speed approximately 4.5 steps faster.

Additionally, the 5-axis stabilization works cooperatively with Sony alpha lenses with optical SteadyShot™ (OSS) to provide maximum stabilization and clarity, while also performing admirably via a compatible mount adapter with Sony alpha A-mount lenses without on-board stabilization. Effects of the stabilization can be previewed via live-view on the LCD or OLED viewfinder of the camera.

Unrivaled 4K Movie Shooting Performance

The impressive video credentials of Sony's new a7R II camera include the ability to record movies in 4K quality (QFHD 3840x2160) in either Super 35mm crop mode or full-frame mode.

In Super 35mm mode, the camera collects a wealth of information from approximately 1.8x as many pixels as 4K by using full pixel readout without pixel binning and oversamples the information to produce 4K movies with minimal moire and 'jaggies'.

In full-frame mode, the a7R II utilizes the full width of the 35mm se nsor for 4K recording, allowing users to utilize the expanded expressive power of the sensor. It is the world's first digital camera to offer this in-camera full-frame format 4K recording capacity.

The camera utilizes the advanced XAVC S codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting.

Additionally, the a7R II model features a variety of functions to support a professional video workflow including Picture Profile, S-Log2 Gamma and S-Gamut, 120fps high frame rate movie shooting in HD (720p), time code, clean HDMI output and more.

Enhanced Design, Operability and Reliability

The new full-frame a7R II has an upgraded XGA OLED Tru-Finder™ with a double-sided aspherical lens that delivers the world's highest viewfinder magnification of 0.78x for crystal clear image preview and playback across the entire display area. ZEISS® T* Coating is also utilized to reduce unwanted reflection s that interfere with the shooting experience.

The camera has an extremely solid, professional feel in-hand thanks to its light, rigid magnesium alloy design, and has a re-designed grip and shutter button compared to its predecessor. There is also a new mechanism to conveniently lock the mode dial, and an expanded range of customizable functions and buttons to suit the most demanding photographers.

The new a7R II camera is Wi-Fi® and NFC compatible and fully functional with Sony's PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony's growing range of PlayMemories Camera Apps™, which add a range of creative capabilities to the camera. For example, there is more creativity available now for time-lapse photography thanks to a new "Angle Shift add-on" app allows users to easily add pan, tilt and zoom to time-lapse images without any additional shooting equipment or PC software required. Learn more at www.sony.net/pmca.

Sony has also introduced a new LCD monitor model CLM-FHD5, an ideal companion to the a7R II for video shooting. A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting.

Pricing and Availability

The Sony a7R II full-frame interchangeable lens camera will be available in August for about $3200 at www.store.sony.com and a variety of Sony authorized dealers nationwide.

The a7R II is compatible with Sony's growing lineup of alpha-mount lenses, which now totals 63 different models including 12 native 'FE' full frame lenses. By early 2016, Sony will add an additional 8 new lenses to its FE full frame lineup, bringing the FE total to 20 lenses and the overall alpha-mount assortment to 70 different models.

A variety of exclusive stories and exciting new content shot with the flagship a7R II camera and other Sony alpha products can be found at www.sony.com/alpha, Sony's new community site built to educate, inspire and showcase all fans and customers of the Sony a brand.

Source: Sony's New a7R II Camera Delivers Innovative Imaging Experience With World's First Back-Illuminated 35mm Full-Frame Sensor

Sony's trio of new digital cameras are loaded with cutting-edge technology

Sony has announced a trio of new compact digital cameras loaded to the brim with cutting-edge technology. The lineup consists of two point-and-shoot cameras, the RX10 II and the RX100 IV, as well as a new interchangeable lens mirrorless model called the a7R II.

The a7R II features what Sony is calling the world's first back-illuminated 35mm full-frame CMOS image sensor, the Exmor R, capable of producing 42-megapixel images with a maximum ISO sensitivity of 102,400. It features 399-point phase-detection auto-focus which means it's very quick to lock focus and Sony's five-axis image stabilization to help reduce camera shake when using slow shutter speeds.

If the stabilization is anything like the system found in Olympus' newer mirrorless cameras, you'll be able to nail shots that would otherwise be impossible without a tripod.

The two new point-and-shoot cameras, however, may be even more impressive.

The RX10 includes a fixed 24-200mm (8.3x) lens with a constant f/2.8 aperture while the RX100 IV uses a fixed 24-70mm (2.9x) f/1.8-2.8 lens. Given its zoom range and wide aperture, it's clear that the RX100 IV would be better suited for portrait work and the like.

Both feature the world's first stacked 1.0-type CMOS sensor with a DRAM chip which means you'll get very fast performance. The duo are also able to capture 4K video at 30 frames per second as well as slow-motion clips at up to 960 frames per second.

These nifty features will cost you plenty. The RX100 IV is the cheapest of the bunch at $1,000 while the RX10 II will set you back $1,300. And if you want the a7R II, be prepared to shell out $3,200. The two slim cameras will be available in July followed by the mirrorless model in August.

Next

Pay what you want: Learn mobile app development with 70+ hours of training

Prev

Intel launches website to help gamers on integrated graphics get a boost in gaming performance

Source: Sony's trio of new digital cameras are loaded with cutting-edge technology

Sony a7R II has 42.4MP on 4K-capable full frame BSI CMOS sensor

Sony has announced the a7R II, a 42.4MP mirrorless camera with an image stabilized full-frame BSI CMOS sensor. Unlike its predecessor, the camera includes on-sensor phase detection elements for faster autofocus, which continues to work with other brands' lenses. The camera also has a revised shutter mechanism, rated to 500,000 actuations but also promising less vibration than the one on its predecessor. The sensor is by far the largest backside illuminated CMOS chip to be released, allowing the maximum expanded ISO to rise two stops to 102,400. The camera will cost around $3,200.

The a7R II also gains 5-axis image stabilization that is rated at 4.5 stops, according to CIPA standard.

The camera can capture 4k (UHD) video at 30p/25p or 24p in the XAVC S 4K format. The 4K video can be taken either from the full sensor width or from a Super35 crop. Even this smaller crop over-samples by 1.8x crop.

AF with third-party lenses

Sony says the on-sensor phase-detection AF can be used with A-mount and some third-party lenses. At the press launch in New York, Sony has been demonstrating the camera autofocusing Canon EF lenses using a Metabones adapter. A-mount lenses can now be phase-detection driven while using the simpler LA-E3 adapter, rather than the LA-E4 that had an SLT mechanism built in.

On-sensor phase detection elements cover 45% of the sensor, which may sound small but actually translates to around 67% coverage in each direction. While this is some way behind level of coverage offered on Samsung's NX1 (or even Sony's APS-C cameras), it's still a considerably larger area than that covered by any full frame DSLR's focus sensor.

It also gains an electronic first curtain shutter option to eliminate shutter vibration, which was a problem with the original a7R at longer focal lengths. It also offers a fully electronic silent shutter.

Press Release

Sony's Flagship Mirrorless Camera Features 42.4 MP Back-illuminated CMOS sensor, In-camera 5-axis Image Stabilization, Internal 4K Video Recording, Silent Shooting, Fast Hybrid AF and more

NEW YORK, Jun. 10, 2015 – Sony Electronics, a worldwide leader in digital imaging and the world's largest image sensor manufacturer, has today introduced their new flagship full-frame mirrorless camera, the α7R II (model ILCE-7RM2).

The new α7R II interchangeable lens camera features the world's first back-illuminated full-frame Exmor R CMOS sensor1, which realizes high resolution (42.4 MP approx. effective megapixels), high sensitivity (expandable up to ISO 102400)2 and high speed AF response up to 40% faster than the original α7R thanks to 399 focal plane phase detection AF points. 

The camera also includes a 5-axis image stabilization system borrowed from the acclaimed α7 II model and can shoot and record 4K video in multiple formats including Super 35mm (without pixel binning) and full-frame format, a world's first for digital cameras1. Additionally, it has a newly refined XGA OLED Tru-Finder with the world's highest (0.78x) viewfinder magnification3.

"Sony continues to deliver game-changing imaging products that are changing the way imaging enthusiasts, hobbyists and professionals can see and capture the world," said Mike Fasulo, President of Sony Electronics. 

Kimio Maki, Senior General Manager of Digital imaging Business Group for Sony Corporation, added "By harmonizing high resolution, sensitivity and speed, we're delivering a high-level full-frame imaging experience unlike anything else in market today, with Sony's newly developed, world's first back-illuminated 35mm full frame CMOS sensor."

High Resolution, High Sensitivity and High-Speed Response

The newly developed 42.4 MP back-illuminated CMOS sensor is the most advanced, versatile and highest resolution full-frame image sensor that Sony has ever created, allowing the α7R II to reach new levels of quality, sensitivity and response speed. In the past, many photographers have been forced to choose between high-resolution and high-speed or high resolution and high sensitivity when selecting a camera.  The new α7R II eliminates that sacrifice thanks to its innovative image sensor. 

The 42.4 MP sensor combines gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor's glass seal to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range. This allows the camera to shoot at an impressive ISO range of 100 to 25600 that is expandable to ISO 50 to 1024002.

Additionally, the sensor's back-illuminated structure, with an expanded circuit scale and copper wiring design, enables faster transmission speed and ensures content can be captured in high resolution without sacrificing sensitivity.  Data can also be output from the sensor at an approximately 3.5x faster rate compared to the original α7R. 

An ideal match for Sony's extensive collection of FE lenses (35mm full-frame compatible E-mount lenses), the new α7R II features a high-speed BIONZ X image processing engine that allows images and video from the camera to be captured with supreme details and low noise.  There is also no optical low pass filter on the camera, ensuring that scenery and landscapes are captured in the highest possible resolution and clarity. 

The α7R II has a new highly durable reduced-vibration shutter that realizes 50% less vibration from shutter movements compared to its predecessor, and has a cycle durability of approximately 500,000 shots4.  The camera can also be set to Silent Shooting mode in order to shoot images quietly without any sensor vibration or movement.   

The new image sensor features 399 focal-plane phase-detection AF points – the world's widest AF coverage on a full-frame sensor1 – that work together with 25 contrast AF points to achieve focus response that is about 40% faster than the original model. The α7R II utilizes an advanced motion-detection algorithm combined with this Fast Hybrid AF system to achieve up to 5fps continuous shooting with AF tracking. 

Additionally, the focal plane phase-detection AF system on the α7R II works well with Sony A-mount lenses when they are mounted on the camera using an LA-EA3 or LA-EA1 mount adapter. This allows users to enjoy the wide AF coverage of 399 focal plane phase-detection AF points, high-speed response and high tracking performance with a wider range of lenses. This marks the first time that the AF system of a mirrorless camera can achieve high performance with lenses originally designed for DSLRs.

5-Axis Image Stabilization Optimized for 42.4 MP

The new flagship α7R II model is equipped with an innovative 5-axis image stabilization system that has been fine-tuned to support its high-resolution shooting capacity. Similar to the system launched on the acclaimed α7 II model, this advanced form of image stabilization corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) that tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects video recording. This camera shake compensation system is equivalent to shooting at a shutter speed approximately 4.5 steps faster5.

Additionally, the 5-axis stabilization works cooperatively with Sony α lenses with optical SteadyShot™ (OSS) to provide maximum stabilization and clarity, while also performing admirably via a compatible mount adapter with Sony α A-mount lenses6 without on-board stabilization. Effects of the stabilization can be previewed via live-view on the LCD or OLED viewfinder of the camera.    

Unrivaled 4K Movie Shooting Performance

The impressive video credentials of Sony's new α7R II camera include the ability to record movies in 4K quality (QFHD 3840x2160) in either Super 35mm crop mode or full-frame mode. 

In Super 35mm mode, the camera collects a wealth of information from approximately 1.8x as many pixels as 4K by using full pixel readout without pixel binning and oversamples the information to produce 4K movies with minimal moire and 'jaggies'.

In full-frame mode, the α7RII utilizes the full width of the 35mm sensor for 4K recording, allowing users to utilize the expanded expressive power of the sensor.  It is the world's first digital camera to offer this in-camera full-frame format 4K recording capacity1.

The camera utilizes the advanced XAVC S7 codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting.

Additionally, the α7RII model features a variety of functions to support a professional video workflow including Picture Profile, S-Log2 Gamma and S-Gamut, 120fps high frame rate movie shooting in HD (720p), time code, clean HDMI output and more.

Enhanced Design, Operability and Reliability

The new full-frame α7RII has an upgraded XGA OLED Tru-Finder™ with a double-sided aspherical lens that delivers the world's highest viewfinder magnification3 of 0.78x for crystal clear image preview and playback across the entire display area. ZEISS® T* Coating is also utilized to reduce unwanted reflections that interfere with the shooting experience.

The camera has an extremely solid, professional feel in-hand thanks to its light, rigid magnesium alloy design, and has a re-designed grip and shutter button compared to its predecessor.  There is also a new mechanism to conveniently lock the mode dial, and an expanded range of customizable functions and buttons to suit the most demanding photographers.

The new α7R II camera is Wi-Fi® and NFC compatible and fully functional with Sony's PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony's growing range of PlayMemories Camera Apps™, which add a range of creative capabilities to the camera. For example, there is more creativity available now for time-lapse photography thanks to a new "Angle Shift add-on" app allows users to easily add pan, tilt and zoom to time-lapse images without any additional shooting equipment or PC software required.  Learn more at www.sony.net/pmca.

Sony has also introduced a new LCD monitor model CLM-FHD5, an ideal companion to the α7R II for video shooting. A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting. 

Pricing and Availability

The Sony α7R II full-frame interchangeable lens camera will be available in August for about $3200 at www.store.sony.com and a variety of Sony authorized dealers nationwide.

The α7R II is compatible with Sony's growing lineup of α -mount lenses, which now totals 63 different models including 12 native 'FE' full frame lenses.  By early 2016, Sony will add an additional 8 new lenses to its FE full frame lineup, bringing the FE total to 20 lenses and the overall α -mount assortment to 70 different models.

A variety of exclusive stories and exciting new content shot with the flagship α7RII camera and other Sony α products can be found at www.sony.com/alpha, Sony's new community site built to educate, inspire and showcase all fans and customers of the Sony α brand. 

The new content will also be posted directly at Sony global sites https://www.youtube.com/c/ImagingbySony and https://www.sony.net/Product/di_photo_gallery/.

Footnotes:

1. Among 35 mm full-frame interchangeable-lens cameras, according to Sony research as of June 20152. Expanded ISO range available only for shooting still images3. Among digital still cameras. The viewfinder magnification is approx. 0.78x (with 50mm lens at infinity, -1m-1). As of June 2015 based on Sony research4. According to Sony internal testing, with the electronic front curtain shutter activated.5. Based on CIPA standards. Compensates for angular shake (pitch and yaw). Measured using a Sonnar T* FE 55mm F1.8 ZA lens, with long exposure noise reduction off.6. Some lenses are not compatible with 5-axis image stabilization.7. An SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording and UHS Speed Class 3 is required for recording at 100Mbps

Sony a7R II Specifications Price MSRP $3199 (body only) Body type Body type SLR-style mirrorless Body material Magnesium alloy Sensor Max resolution 7974 x 5316 Image ratio w:h 3:2, 16:9 Effective pixels 42 megapixels Sensor size Full frame (35.9 x 24 mm) Sensor size notes BSI-CMOS full-frame sensor. No optical low-pass filter Sensor type BSI-CMOS Processor Bionz X Color space sRGB, AdobeRGB Color filter array Primary color filter Image ISO Auto, 100-25600 (expands to 50-102400) White balance presets 10 Custom white balance Yes Image stabilization Sensor-shift Image stabilization notes 5-axis (4.5 stops per CIPA standard) Uncompressed format RAW JPEG quality levels Extra fine, fine, standard File format

JPEG (DCF 2.0, EXIF 2.3)

RAW (ARW 2.3)

Image parameters

Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia

Optics & Focus Autofocus

Contrast Detect (sensor)

Phase Detect

Multi-area

Center

Selective single-point

Single

Continuous

Face Detection

Live View

Autofocus assist lamp Yes Digital zoom Yes (4X) Manual focus Yes Number of focus points 399 Lens mount Sony E (NEX) Screen / viewfinder Articulated LCD Tilting Screen size 3″ Screen dots 1,228,800 Touch screen No Screen type TFT LCD Live view Yes Viewfinder type Electronic Viewfinder coverage 100% Viewfinder magnification 0.78× Viewfinder resolution 2,359,296 Photography features Minimum shutter speed 30 sec Maximum shutter speed 1/8000 sec Exposure modes

Auto

Program

Aperture priority

Shutter priority

Manual

Scene modes

Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night Scene, Hand-held Twilight, Anti Motion Blur

Built-in flash No External flash Yes (via Multi Interface shoe) Drive modes

Single, continuous, speed priority continuous, self-timer, bracketing (AE, white balance, DRO)

Continuous drive 5.0 fps Self-timer Yes (2 or 10 sec; continuous (3 or 5 exposures)) Metering modes

Multi

Center-weighted

Spot

Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps) AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps) WB Bracketing Yes Videography features Resolutions 3840 x 2160 (30p, 25p, 24p), 1920 x 1080 (60p, 60i, 24p), 1440 x 1080 (30p), 640 x 480 (30p) Format MPEG-4, AVCHD, XAVC S Videography notes headphone and microphone ports, XLR support via adapter Microphone Stereo Speaker Mono Storage Storage types SD/SDHC/SDXC, Memory Stick Duo/Pro Duo/Pro-HG Duo Connectivity USB USB 2.0 (480 Mbit/sec) HDMI Yes (micro-HDMI port with 4K still, uncompressed video output) Microphone port Yes Headphone port Yes Wireless Built-In Wireless notes 802.11b/g/n with NFC Remote control Yes (wired or via smartphone) Physical Environmentally sealed Yes Battery Battery Pack Battery description NP-FW50 lithium-ion battery and charger Weight (inc. batteries) 625 g (1.38 lb / 22.05 oz) Dimensions 127 x 96 x 60 mm (5 x 3.78 x 2.36″) Other features Orientation sensor Yes Timelapse recording No GPS None
Source: Sony a7R II has 42.4MP on 4K-capable full frame BSI CMOS sensor