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To replace the former Photoworld (Minolta/Sony only) magazine, Icon Publications Ltd is publishing a new quarterly, Cameracraft. Two editions havd been published and subscribers are able to receive Issue 1 and 2 at present. A subscription form can be downloaded in PDF form or you can visit our web page for the Cameracraft launch.
Light Shaft and Motion Shot are two new apps for the NEX-5R and NEX-6 – one of which looks almost unacceptable (sure way to get your images disqualified from competitions, however much fun) and the other really innovative, bringing a motion clip function to the NEX range which it was lacking before.
There is also a new version of PlayMemories Online mobile app with Photo Book feature now available
Available to buy from www.sony.net/pmca, both apps let you instantly create a huge range of in-camera picture effects, with no special PC software or image editing skills needed.
Light Shaft adds a ‘dramatic ray of light, like sunshine bursting through cloudy skies’. Position your light source and choose from Ray, Star, Flare or Beam effects then tweak the angle, intensity, length and number of rays. The original photo is automatically saved as a copy alongside the amended version. Now you can say you have been shafted by Sony
Motion Shot ‘identifies your moving subject in a high-speed burst of frames, capturing each moment of the subject’s motion into a single image. Press the shutter button and track the split-second action of that wild snowboarding trick or pole-vault. Freeze the beauty of wild birds landing on a lake or just have fun capturing friends, family and pets on the move. Fine-tune each shot by choosing your sequence length, start/end frames and fade-in or out.’ Alongside the composite image (?), your original frames will be recorded in continuous shooting mode and remain untouched.
New PlayMemories Camera Apps™ for the NEX-5R and NEX-6 are available now in the UK.
PlayMemories Online: New Android app and Photo Book feature
A new Android app* adds fresh features to PlayMemories Online, the photo and video cloud service from Sony. There’s also a new Photo Book feature that lets you have fun creating beautiful online photo books in a few simple steps.
The new app automatically selects memorable shots from all your uploaded photos, organising them by date. Each day you launch the app on your mobile device, you’ll see different photos from the past to rekindle those priceless memories.
Photo Book lets you organise and enjoy all the photos you’ve uploaded to PlayMemories. Just pick the photos that you want to be included into your photo book, select from a choice of eight themes and personalise your photo book with text and decorations. Once your book is ready you can view it at any time on your smartphone, tablet or PC; better still, share all those memories with friends and family by Facebook or e-mail.
Gary has just returned from Malaysia and Singapore, where he was running workshops including one for Sony themselves. He’s also just finished signing off the proofs for the latest Cameracraft quarterly magazine, published by Photoclubalpha’s owners Icon Publications Ltd, edited by David Kilpatrick with Gary as US Associate Editor.
Issue No 3, 2nd Quarter 2013, will be available from the first week of April and includes a great story on Gary’s period working in China, a portfolio proving that pinhole photography does not have be soft and murky, a look at viewpoints and the camera, the best ‘historical battle recreation’ set we’ve ever seen, and more.
Lensmate produce an ultra lightweight filter adapter for the Sony Cyber-shot RX100, as well as selling some related accessories. We ordered from them a filter adapter kit including the 49mm threaded filter ring ($32.95) and to this order added Richard Franiec’s beautiful CNC machined aluminium custom body grip ($34.95) and a JJC Polycarbonate screen protector ($5.95).
The filter holder was the main purchase, but in the end least likely to be used – the grip, on the other hand (the right hand…) will be used for ever. Here’s the content of the filter package:
From the left: 49mm lens cap with retaining lanyard; white box for whole kit; thread for use if the adaptor needs to be removed, together with alcohol wipe for cleaning before fixing; the 49mm adaptor; the lens-mounted adaptor ring (with yellow tape); a circular template, used to position this perfectly. As an alternative or an extra, you can choose a 52mm filter ring.
To do it perfectly the tape should actually be parallel to the camera body. It’s not that important but looks a little neater when fixed. The adhesive is uncovered on the back of the adaptor, it is placed in the centre of the positioning guide, and pressed home. To extend the lens and keep it firm, the camera is switched on, and the battery removed; this leaves the lens in this position. Only light pressure is needed. The yellow tape and the positioning ring are then removed.
The marks visible on the lens were left by the alcohol wipe, and cleaned off afterwards with a lens cleaning wipe. In this shot, the 49mm filter ring is bayonet fitted into place (a little less than a half-turn). The fit is very positive and the action is light but firm. The whole item weighs such a small amount it adds no strain and can be left fitted permanently.
Here are two filters – a 49mm Minolta polariser and a 49mm No 1 Minolta close-up (not a 1 dioptre, but stronger, and a double element achromat with coating – one of the best close-up lenses you can still find around on the used market).
The polariser is flared to allow wide-angle coverage. This makes it ideal for lenses like the NEX SEL 16mm f/2.8. But you can’t fit a lens cap of standard size (it widens out to accept a 57mm push-on, similar to a 55mm screw-in in size).
Lensmate provide a centre pinch fit lens cap with a retaining lanyard. It is not needed as the camera has its own lens cover shutter, but if you fit a filter, you may want to add the cap to protect the filter.
This is a Minolta lens hood for the old MC 45mm f/2 Rokkor. It’s very light and is ideal for the RX1 (we’ve sold a good few of these on eBay for exactly that purpose). There’s no great benefit on the RX100, as the lens flare this camera suffers from is rarely to do with stray light, nearly always with light sources within the frame.
The overall thickness of the adapter for filters is less than 3mm. It does not affect operation. Once fitted you forget it, and it becomes part of the camera, but it must also add some protection.
Here is the closest at wide-angle using the Minolta CU lens.
And this is at the longest focal length (where close focusing is most restricted with the RX100). More powerful close up lenses – this one is about 1.5 dioptre – will produce a more dramatic result.
In the photos above, you’ll see the body shape is rather enhanced. The workout to add this muscle is brief and easy.
Start with a cleaned RX100 body.
Take the Franiec precision grip, and remove the two 3M permanent adhesive release papers.
Position on the camera and firmly press into place. It isn’t going to shift after you do this.
And that’s it. A great product, a perfect finish, and it really does make the RX100 much easier to hold securely. It also tends to position your thumb correctly on the back and your index finger over the shutter. It is perfectly designed and manufactured.
Finally, here is the JJC Polycarbonate (not Gorilla Glass) LCD screen protector.
This is simple enough to fit and one fitted is invisible. The tab for the release paper didn’t work all that well and nor did the tab to remove the protective layer, but a bit of fingernail prising helped peel both off. The adhesive is only round the edge, and the protector can be removed easily.
Beta (release candidate) versions of new Lightroom and Adobe Camera Raw can be downloaded free now from Adobe Labs. You won’t get these updates using the normal search for updates in Adobe apps, as they are not the final release and can not be found on Adobe.com Downloads yet.
These updates will work until April 30th by which time there will be a full release version. For Sony users, the updates provide better lens correction for the RX-1, support for the Hasselbad Lunar (NEX-7 based luxury camera), and lens profiles for the new type Sigma 18-250mm HSM Macro and 180mm prime macro lenses. There are also some improvements to the conversion and controls.
Sony has now released full details of the Alpha 58. Although I don’t think the camera is a game-changer or a vital upgrade for owners of Alpha 55 and 57 (the 55 will leave me only when it expires, with its useful GPS, 6fps/10fps and fully articulated reversible rear screen) there are hidden bonuses for anyone investing in the 58.
Firstly, the new OLED finder – probably a step better visually – is a league better in power consumption. The penalty for using the EVF instead of the rear LCD on the Alpha 77 and is siblings has been a sharp reduction in the battery stamina for shots, 470 versus 530 official figures for the 77 as an example. The new finder on the 58 gives a reduction for 700 to 690 – not just an overall improvement, but a minimal difference you can ignore. The smaller, non-reversile tilting rear 2.7″ LCD screen may also be less power-hungry than 3″ types.
Secondly, the camera supports an extended TriLuminos colour gamut. The colour gamut of existing Sony DSLRs and SLTs (and NEX) equipped with HDMI output does not need to exceed AdobeRGB (52.1% of the recognised visual gamut for a ‘Standard Observer’, CIE 1931 vintage). That’s because regular HDTV throws away a stack of this colour, showing only 35.9% of the gamut. That’s why it looks so colourful and bright. The less gamut you show, the brighter and more saturated colours look, for the capabilities of any given display. That may sound the reverse of what you would believe to be the case, until you apply a bit of thought to it.
TriLuminos gamut is the larger triangle, regular HDTV is the smaller (similar to sRGB) while AdobeRGB falls between the two. One colour space you can use when processing raw files – ProPhotoRGB – is so large is exceeds part of the CIE 1931 colour space.
The TriLuminos gamut is massive. Unlike HDTV, it’s bigger than AdobeRGB and much bigger than regular sRGB (what most computer screens can show). It is 75.8% of the CIE 1931 colour space. That, by the way, is simply a standard based on what a bunch of test subjects could perceive back in 1931 and it’s been criticised for failing to include a wide enough range of genetic backgrounds and learned visual abilities. We all see colour differently (men notably with far less accuracy and discrimination than women, young better than old). If you’re a teenage girl you’ll love the TriLuminos displays. If you’re an old bloke you may not notice…
Sony claims that the A58 can output colours to the TriLuminos TV sets which show “a dramatically expanded palette of vivid, ultra-realistic colours when videos and still images (are played back)”. In theory since AdobeRGB (offered by all Sony models to date) would already show an expanded palette, this might not mean any big change in the sensor. But TriLuminos uses a colour space which requires 12-bit depth and it can’t be used effectively unless the sensor itself is going beyond the range of AdobeRGB. You can’t get out what you do not put in. Then again, if you’re using a normal printer or computer, you can’t get it out anyway. The camera captures colours you can’t see on its own rear screen, in its viewfinder, on your computer screen or in a print.
We can therefore deduce that the Bayer filter colours on the new 20 megapixel sensor may be changed, along with the BIONZ processing and the JPEG colour management and compression (after all, the JPEGs will still be 8-bit and going beyond AdobeRGB risks significant banding in smooth graded colours such as skyn blues). Sony say this is the first ever A-mount camera to offer this colour ability. Will DxO Mark have to change their colour measurements to cope with it?
It is possible the sensor has no colour gamut benefits and that all Sony is doing is expanding AdobeRGB (or the native gamut, which is close enough to AdobeRGB) to fill the wider space of the TriLuminos TV screens, making certain colours appear dramatic in the process, but not realistic. Obviously what we should all hope for is that this improvement starts with the sensor itself.
Since the NEX-3n (possibly not the camera rumoured by Nippon Camera as NEX-F3R) also offers TriLuminos extended gamut but has a regular 16 megapixel sensor, I’m going to have to wait to see what the real colour science experts at DxO, and our various friends in Russia with special knowledge of this field, find. We do have a resident colour scientist but sadly none of the gear needed to analyse this properly.
Whatever the case, we appear to be getting a camera whose new 20 megapixel sensor will have significantly better power consumption which almost certainly also means lower heat generation, in turn meaning lower noise and longer ‘safe’ durations for video. Sony is gearing up for the next phase of HDTV – 4K – and the UHDTV beyond this going to 8K. They will eventually need to produce 39 megapixel sensors for uninterpolated 8K, and this will be the target for both APS-C/Super35 and full-frame between now and 2015 when the industry expects to see the first 8K UHDTV retail sales (those in the UK, don’t hold your breath, we’re likely only to get 4K and may not see that become the standard until 2020).
Nikon has stolen an interesting march by enabling a 1.3X, 15 megapixel crop for 7fps shooting in the new 24 megapixel D7100 – a very useful size almost equal to a 2X crop from full frame. Sony has an unspecified ‘tele-zoom’ feature in the A58 to achieve 8fps. But no-one has so far been able to reveal what the tele-zoom crop is; Sony’s ‘technical specifications’ so far released for the A58 are minimal.
If the same 24.1 megapixel, AA-filter-less sensor is used in an A78 (as some rumour sites think likely) then perhaps sub-frame readout aka tele-zoom will be implemented on that too.
The A58 has a new 18-55mm SAM lens with improved build quality and a redesign to the rear element configuration. Sony says this is to avoid ghosting. We’d be surprised if it was not also to change the exit pupil geometry slightly, in order to work better with current and future phase-detection on sensor models.
The Japanese industry magazine, Nippon Camera, has posted its calendar of new product releases for 2013. This does not include the Alpha 58, a 20-megapixel revision of the 57 which is not expected to make any significant difference to the choices for DSLR/SLT system owners (that is – it’s not likely to be an imperative choice).
The A58 has already been previewed by some websites, but no opinion has any meaning until the sensor has been thoroughly tested. It may be significantly better than the 24 megapixel sensor in some ways, and better than the 16 megapixel sensor; or it may just be a compromise which has neither the clear benefit of low light performance, or ultimate resolution.
In March, a NEX-7R is expected – this, following Sony numbering, will be a 7 with on-sensor PDAF added and compatible with the revised and new lenses which work with on-sensor PDAF in the NEX-5R and NEX-6. The next month, a budget model NEX-F3R will complete this compatibility at entry level.
The model numbers given by Nippon Camera are different from those rumoured on the web. 7n would indicate no PDAF on sensor, no touch screen where 7R would indicate both. Either way, a new 7 will have the new Multi Function Accessory shoe. F3R indicates built-in flash, PDAF and touch-screen.
In September, Sony is tabled to launch a NEX-9. This is widely assumed, because of the numbering consistency shown so far, to be a full-frame (probably 24 megapixel) NEX E-mount body just as the VG-900E video camera is a full frame E-mount aimed at that market. We believe that Sony will either bundle an Alpha mount adaptor with the 9, as Canon has done for EF lenses with the EOS M, or will wait until the first flush of sales is complete before using this as a price/value incentive.
Listing this as plain NEX-9 may not mean it’s lacking the ‘n’ or ‘r’ or other aspects. After all, the NEX-6 has almost everything new and it’s a plain 6. So a 9 may also have more functions than the VG-900E.
However, it’s very hard to beat Canon’s approach – at airport duty free last week, Canon’s EOS M was selling for £499 complete with kit 18-55mm lens, EOS EF/EF-S lens adaptor, and a medium powered bounce flash.
Nippon Camera does not place any further NEX or Alpha models on their 2013 calendar of predicted launches, despite every indication there should be further A-mount models.
New lenses announced this week include an 18-55mm SAM II (updated focus motor for better PDAF on sensor, hopefully improved optical and mechanical design); a Carl Zeiss 50mm f/1.4 Planar SSM at a very high retail price; and a revised 70-400mm f/4.5-5.6 G SSM II, again probably optimised for on-sensor PDAF performance.
With new firmware for the Alpha 77 and 99 and most current models now up for download, the promised rush of new firmware is probably complete. The Alpha 77 firmware has errors in the web page for Europe, referring to the Alpha 57 and showing pictures of the 57. This is probably because the page has been based on another used as a template. The firmware, we can confirm, is for A77 and updates correctly.
Note that when using a Windows PC, 64-bit doesn’t work with Windows 8. You have to read the asterisk info carefully to see this. Mac OSX 10.8.x Mountain Lion does work in 64-bit and there is no need to reboot to do the upgrades; older Mac systems must be in 32-bit mode.
The firmware is specified as updating the on-board lens correction list, and for the A99 (v1.01) the ability to use sensor assisted PDAF with some lenses: Provides support for the following ”Dual AF” function compliant lenses:
SAL24F20Z, SAL85F14Z, SAL135F18Z, SAL70300G, SAL70200G, SAL35F14G, SAL1635Z, SAL100M28, SAL50M28, SAL85F28, SAL300F28G Provides support for the following automatic compensation compliant lenses:
SAL100M28, SAL50M28, SAL85F28, SAL18200, SAL20F28, SAL28F28
You can find the A77, 99 updates and some other software via these links:
To find the updates for other cameras change the URLs to include SLT-A57 (to version 1.04), SLT-A65 (to version 1.07), SLT-A37 (to 1.04). There are no updates for the A33, A35, or A37 and no updates for DSLR models such as the A580.
There are also firmware updates for the NEX series, including the 5N:
Makes “SELP1650” retract immediately after turning off the camera
Improves autofocus operation stability
Enhancement of AF response: When subject distance changes enormously.
Improved stability in certain camera operations:
When setting [Lens Compensation: Distortion] “Auto” and [Picture Effect] “Miniature” at the same time.
When setting [Exposure Compensation], [Intelligent AF] operation improves.
Again, to find your updates, just change the model number – there are updates for the NEX-F3, NEX-5R, NEX-6, NEX-7 but not for the NEX-3, NEX-C3 or NEX-5. Improvements are given in the instructions and include correction for the 16-50mm on all cameras.
There is one software update – Alpha 99 compatible Remote Control 3 (USB control, shooting and image transfer from PC or Mac) is now released:
The same software can also be used as before (RC2) with Alpha 700, 900 and 850, reinforcing the value of these excellent DSLRs which were Sony’s three most professionally specified optical viewfinder models in their time (2007-2009) and remain so. The Alpha 77 is not supported. Settings can be changed on your computer, the camera can be triggered, and the resulting files stored on the computer.
RC3 is a stand-alone program now and does not require to be part of the Image Data Suite. It is Mac OS 10.8 (Mountain Lion, on Intel systems) and Windows 8 compatible (but not 64-bit Windows 8).
There is also a NEX lens firmware update, which can only be installed using an updated NEX-6 or NEX-5R (not a 7, or any other model).
Each lens is a separate updater so you need a well-charged battery and a little patience in order to update all your lenses. At the time of checking, there are no firmware updates for the LA-EA1, LA-EA2 or LA-EA3 Alpha lens adaptors for NEX.
We thought that these bags at a low price would disappear, so since buying some last month, I’ve told a few friends but not publicised it. A Facebook posting or so.
What is the bag and why is it so good?
It’s a Manfrotto Stile Unica VII, the largest size made in these Chinese-fabbed courier or messenger style shoulder bags. There are a few smaller sizes but this big one can fit a MacBook Pro 15″ or a typical Windows laptop 17″ in the back of the main compartment, behind the insert. That is not unique, my ancient 1987 Tenba Messenger will also fit my MacBook and even take a couple of cameras. What it will not do it take my favourite tripod, the Gitzo Traveller 6X carbon fibre travel pod, in its base compartment.
The Gitzo is designed to be shorter than the airline/airport rule on dangerous items, the same sub-14″ length as a large collapsible umbrella. This did not stop the customs guy at Bari Airport, in 2011, seizing the tripod and telling me it was not allowed and would be confiscated. I don’t speak Italian, but I do know Italians! I became very agitated and waved my arms a lot, explaining that this tripod was an Italian product, specially made for airline travel, and cost over 500 euros… and was a gift from my wife (who at this moment was clearly about to burst into tears). I could not believe that I would lose this wonderful Italian product when trying to fly back from Italy.
The customs man and his female colleague turned away to confer. A second later he just handed the tripod back and motioned us through.
Even so, despite its value, the Gitzo now goes in our hold baggage and not in the camera bag. It simply isn’t worth the risk of confiscation versus the risk of loss – and loss is insured, where confiscation is an untried situation with my insurance company. We have not, yet, had to ask.
Once arrived, the new Stile Unica VII bag will fit the pod perfectly and it weights the bag just right. The Stile is relatively slim front to back but large, like a satchel, so it tucks under the arm in busy crowded places. It’s easy to swing round to the front, and with the document compartment zipped up and under the flap with velcro and a huge metal webbing clip, camera access is possible through a top zip. Yes, that’s not so secure if you stand on a Barcelona street corner and swing the bag behind you. That’s where backpacks fail too. It looks slightly less like a camera bag than some, too. And you can do a padlock tie on the twin top zip and document compartment zip too. The laptop slot has a velcro tab to secure it. The camera load bay had one divider and a sort of lens-cradle thing which is not enough, but who does not have a cupboard full of spare dividers? What’s lacking is velcro fur all round to allow free layout. We use pouches or cloths to keep stuff apart. Big microfibre cleaning cloths are great, you can use them to clean the gear as well as wrap it.
The actual dimensions are 16 inches clear in the base compartment, by a variable 3.5-4 inches squareish. It will not quite fit the Sony 70-400mm G lens in its pouch; this would strain the zip. It easily fits this lens ‘bare’, and the height of the top compartment is also enough for the 70-400mm standing vertically. It is a surprisingly large bag for this type of design.
So, it’s not got a huge capacity or clever compartments. What is the rest of the appeal? The weight. I opened my copy of Practical Photography and found a guide to camera bags for travel. Are they nuts? All the bags I saw were really for working out of the back of your car or roller-ing along when shooting a wedding. People who fly do not start out with a bag weight over 6 kilos before loading gear.
The Stile Unica VII weighs just a few grammes over 1 kilo, leaving you almost 4 kilos of payload before you hit the maximum allowed on board many smaller flights. I’ve only ever been caught once and had load up my pocket, on Croatian Airlines. In theory plenty of other carriers limit you to 5kg. BA and Easyjet allow anything you can safely lift into the overhead, some others allow 10kg. But even in 10kg, the less dead weight the bag takes up, the better. The Unica VII is even lighter than our single-layer traditional canvas photo bags, and unlike them, it has a tiny amount of padding.
The next thing is the price we paid. This is an £80-90 bag officially. But at the time I post this page, you can get the unpopular mud-coloured ‘Bungee Cord’ (colour) fabric version for £32 in the UK from Amazon. That’s including VAT, not some grey import deal.
This is the white version – that’s right, how impractical! A white camera bag. Nearly as impractical as a white lens… it cost more, a touch under £50, still almost down to half price. We wanted white for travel and walking in hot, sunny conditions. Black cameras are bad enough, and can quickly rise to 40-50°C if you leave them in the sun. Dark colours, especially black, bags are poor when it comes to keeping gear cool, and it is the temperature of your DSLR which determines whether you get the best possible dynamic range and noise levels from your sensor. The Alpha 99 is a bit of an exception. These cameras are built to work with the sensor HOT, that’s what live view EVF does for you. You still get the very best performance from a cool camera and shots you take before the sensor has warmed up – and you can still get the camera do a thermal cutout on you in very hot conditions, or if you shoot long video takes. Tip: move the rear screen away from the back a bit to allow ventilation.
The white Stile Unica VII is not just a fashionable dirt magnet, it is a practical camera carryall for tropical, desert and the occasional perfectly sunny day in Scotland. The muddy bungee-cord colour is less conspicuous and will take muddy marks happily.
I’m not keen on the sort of half-union-jack pattern of the bag flap and I hope they never make one in red, white and blue. The fixed shoulder strap is a decent length with an adjuster on both sides and a fixed non-removable, non-sliding shoulder pad. That’s perhaps one way the price has been kept down. But the strap supplied with the Pro bag I tried was so bulky and heavy it weighed about the same as the entire Stile Unica VII and occupied most of its bag’s interior when delivered! I’m all for stuff which can be squished up, rolled, flattened and packed if need be. This bag qualifies.
Here’s the Amazon link for the mud-coloured version at £32 – everyone who has bought one reckons this is a great price for a very functional if slightly depressing bag!
And here is a link to the Gitzo Traveller tripod (latest version) which will explain why I learned quickly to act like an Italian and get emotional – £660, over 800 euros. I think I may just put mine in a safe as buy a cheap Giottos version to actually use… and I do not need a free ‘carrying solution’ either.
It’s not the fast f/2 design everyone was hoping for, but maybe the quality will be right – Sony has announced a new 20mm f/2.8 pancake lens for NEX. At the same time, the power zoom first seen at photokina, aimed at video NEX models, is available separately.
Here is the release:
Photographers and video makers are spoilt for choice with two additions to the range of E-mount interchangeable lenses for SonyαE-mount cameras and semi-professional camcorders.
E 20mm F2.8 ‘pancake’ wide-angle lens
Measuring approximately 20mm from front to back, this short focal length ‘pancake’ lens makes an ultra-slim yet tough ‘walkaround’ partner for your α E-mount camera.
With the 35mm equivalent of its 30mm wide-angle view and bright F2.8 aperture, it’s perfect for a broad range of everyday shooting opportunities, from interiors to landscapes, street scenes and casual snaps. Excellent contrast and resolution are also augmented by enhanced clarity in corner areas to satisfy the most discerning photographer.
E PZ18-200mm F3.5-6.3 OSS powered telephoto zoom lens
Offering a generous 11x magnification range, this high-quality telephoto zoom makes an ideal partner for shooting video with the E-mount interchangeable lens Full HD camcorders. The NEX-VG30EH is already supplied as a kit with the E PZ 18-200mm F3.5-6.3 OSS power zoom lens.
A comfortably positioned zoom lever is partnered with a switch on the lens barrel, allowing zoom speed to be selected in six steps, from slow, beautiful shifts in perspective to dramatic crash-zoom effects. Thanks to a newly developed internal linear motor, power zoom is complemented by exceptionally smooth focusing and aperture operation. Zoom can also be controlled directly from NEX-VG900, NEX-VG30 and NEX-FS700*.
*Firmware update is required for NEX-FS700.
Built-in Optical SteadyShot cuts the effects of camera shake, allowing handheld use of slower shutter speeds without image blur. Active Mode further enhances stabilisation at the wide end of the 11x zoom range – even when you’re walking along – making the lens a compelling choice for capturing smooth, stable video footage.
While optimised for video, it’s also a flexible choice for shooting stills with Sony’sαE-mount interchangeable lens,, from expansive landscapes to high impact close-ups of wildlife and athletes
E-mount lens family keeps growing
There’s now a family of thirteen E-mount lenses plus two converters, covering virtually any shooting situation with your Sony α E-mount camera or camcorder. Spanning ultra-wide angle,powerful telezoom, macro and fast, bright primes, the range includes premium optics by Sony and Carl Zeiss. Beautifully styled to complement yourαE-mount camera, every E-mount lens offers refined performance and easy handling.
The new Sony E 20mm F2.8 interchangeable lens will be available from March 2013,and the E PZ18-200mm F3.5-6.3 OSS lens from February 2013.