For the last 14 months I’ve been paying for CaptureOne at £12 a month (£168 so far). Or, you could buy a full license for €279. Either way, it is a lot of money. I’ve only just realised that as a Sony user I could have just paid for Pro at £45 (€50). And so can you!
There’s been a fair bit of buzz around the new Sony RX100 V since it was announced. There’s been a lot of talk about the A6500, too. The RX100, though, sits in a couple of pretty large markets. There’s the ever dwindling compact camera market. The threat of mobile phones has never been greater to compacts. Somehow, the RX100 manages to hold on as one of the few strong survivors. It’s also a wildly popular vlogging camera.
The folks over at DPReview have one for testing, and they’ve posted up some sample footage shot with it. There’s 4K and 1080p samples (upsampled to 4K) at various framerates to show off the realtime and slow motion playback. It also lets us see the new autofocus system, which has been sped up from that of the already impressive RX100 IV.
Until today I’d known my Sony A7II could handle the shadow world, but I could never bring myself to push it. Mainly out of fear, no actually entirely from fear of losing the image. Recently I had the absolute pleasure of working at Rebecca Bathory’s place I decided to test the range once and for all.
The Sony a6300 was one of the most promising cameras that Sony ever released. A 4K crop-sensor mirrorless for less than $1000. Promising, but not delivering if you tried to shoot 4K for over 13 minutes. Then the camera would overheat and shu itself down.
If there was one single issue that kept haunting this camera it was the 4k overheating issue. Sony did release a firmware for overheating, but it was not solving the issues that videographers were facing. But now the new a6500 is said to be solving that problem. If you ask me, that could be the only reason that Sony released a predecessor to the a6300 only 6 months after its launch.
If you were the world’s most famous portrait photographer, what camera would you take on a job? If you’re Annie Leibovitz the answer is probably all.
Annie shot a “roadtrip” commercial for Lincoln Continental featuring quite a few celebs “going on a roadtrip”. Most of the movie is filled with Nikon and Hasselblads (I have no idea how many, but a lot of them), at about 1:50 you can see Annie shooting with a Sony A7-something (I think it’s the A7RII) and a Sony 24-70 F/4 lens.
When I was shooting and testing the new Sony RX100 V for a few hours last week I usually kept it in single shot mode, how I have shot forever. Single shot mode goes against everything that this new superspeed jet fuel camera is all about. This new refresh of the RX100V is all about speed, continuous shooting and that crazy 24FPS shooting mode. I mean, the RX100 V is much more than that, but this is what the hype was and is about. For those who want to never miss a moment.
Sony said this new 24FPS mode is a way to capture the “Decisive Moment”. Well, this can be good, or this can be bad, depending on who you are, your philosophy on photography, the way you capture images and so forth. Now some out there, for example, someone who shoots with a Leica M, well they will never shoot at 24FPS. Others who shoot action, sports or want to spray and pray for the best shot, this camera may be a miracle worker.
Here is a bit of interesting news, a letter that Sigma distributors just sent to their retailers tells that Sigma is stopping to make some of the Sony mount Sigma lenses.
A reliable source within the industry tells us that Sony is actually quite a small business with Sigma, so they are letting this line go.
Sony’s much anticipated A6300 was finally released in March this year. An eagerly awaited update to 2014’s A6000. Now, a mere 8 months later, Sony have announced the new Alpha A6500 at a Sony event in NYC. It contains a 24MP APS-C Exmor CMOS sensor and like its predecessor shoots 4K video. Let’s hope it doesn’t overheat like the A6300, too.
The big news with the A6500 is the new built in 5-axis in-camera stabilisation. If you wanted stabilisation with the A6300, you had to be using a lens that supported it. Now, with the A6500, it’s built into the camera, and can be used with any lens, offering up to 5 stops of stabilisation. The buffer has also been significantly increased, jumping from the A6300’s 44 RAW frames to 107 shots in the A6500.
Samyang brought autofocus into their range of lenses not too long ago with two new Sony E mount lenses. The 14mm f/2.8 and 50mm f/1.4. Now, in a recent interview with Focus Numerique, Samyang head of product planning, Jeong Min Shin says that more are to come.
In the interview, he talked about some of the decisions and compromises that had to be made with the new Sony lenses. But he also suggested that Nikon and Canon autofocus lenses may not be too far away. The story for Fuji and micro four thirds, however, may be another matter.
If there is one show where the big guns spend a ton of money on it is probably Photokina. We went to the showgrounds a day earlier so we can share how the thing looks from the inside. All the companies put up some huge booths. And size does matter, but some have more interesting displays than others.
Here are a few of the big booths we shot for you. (we will share more information as the show progresses on our Instagram account).