Sony Camera
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The
The independent guide to getting the most from your Sony
180
first edition
Digital Edition
100% UNOFFICIAL
jam-packed pages of expert photo advice
Essential kit advice • 21-page buyer’s guide • Professional tips and tricks
CONTENTS camera Buyer’s guide
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Sony Alpha 9
10
Sony Alpha 7 III
12
Sony Alpha 7R III
14
Sony Alpha 6500
16
Sony Alpha 6300
18
Sony Alpha 6000
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Sony Alpha 5100
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Sony Alpha 99 II
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Sony Alpha 77 II
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Sony Alpha 68
25
Sony RX10 IV
26
Sony RX100 VI
28
Sony RX1R II
29
Sony RX0
30
170
124
6
134
Sony essentials Sony lenses
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15 must buy accessories
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Master Sony modes
48
Techniques
134
5 pro techniques for sharper shots
62
Master new landscapes
72
Portraits on the run
84
Shoot your best black and white
96
10 essential editing techniques
10
Advanced Techniques
48
Unlock the secrets of subtle lighting
124
10 steps to stunning seacapes
134
Professional guide to artistic nudes
146
Creative sport & action
158
Capture artistic architecture
170
62
146
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Buyer’s guide 2 1
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Sony Alpha 99 II
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£3,000/$3,200 (body only) Sony’s flagship A-mount camera marries highresolution stills with 4K shooting Specifications Megapixels (effective) 42.4 Max resolution 7952x5304 Sensor information 35mm full frame (35.9 x 24.0mm) Exmor CMOS sensor Lens data N/A Focus/macro N/A Shutter speed 1/8000-30sec ISO sensitivity 100-25600 Exposure modes Auto, P, A, S, M Metering options CW, S, MS Flash modes off, A, FF, SS, RS Connectivity NFC, Wi-Fi compatible Weight 849 g (with battery) Dimensions 142.6 x 104.2 x 76.1 mm Batteries One rechargeable battery Storage Memory Stick PRO Duo, SD, SDHC, SDXC, microSD LCD 2.95 inch (3.0-type) wide type Viewfinder 0.51 inch (0.5 type) EVF
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Sony may have enjoyed great success with its full-frame Alpha-branded compact system cameras, but the A99 II shows it hasn’t given up catering for pro users with its DSLR-like SLT system. With a high-resolution, fullframe sensor on board and plenty of exciting tech alongside, Sony clearly believes that not everyone who’s after a DSLR-style camera necessarily wants one of the more traditional offerings from the likes of Canon, Nikon and Pentax.The a99 II adheres to the same SLT concept as the camera’s forebears, with a translucent, non-moving mirror that directs the majority of the incoming light to the imaging sensor and the remainder to an AF module. It serves as an update to the four-year-old Sony Alpha A99, and combines the form and advantages of the SLT line with features similar to those seen in more recent A7-series models.
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The camera combines 399 phase-detect points on the main imaging sensor with 79 phase-detect cross-type points on a dedicated AF sensor 2
Thanks to the arrangement of the controls and the depth of the body itself, the camera handles well 3
The 3-inch LCD screen can be tilted to suit your needs 4
The mode dial is tall enough to be gripped with ease, and its central locking button presses in easily enough to make releasing and turning the dial comfortable
These include a 42.2MP sensor, which appears to be very similar to the one inside the A7R II, together with a five-axis, sensor-based image stabilisation system – something not offered by Nikon or Canon rivals. Normally models with such a high pixel count don’t have speed as a priority, although the A99 II defies expectations by offering 12fps burst shooting with AF and auto-exposure working throughout. Add in 4K video recording and this camera appears to be catering for many users’ needs at once. Currently, the A99 II is likely to be considered against the likes of the Canon EOS 5D Mark IV, Nikon D810 and the Pentax K-1. And, while it’s beaten on price by the latter two – and by some margin too – it arguably offers one of the most well-rounded spec sheets we’ve seen. While the original A99 made do with a 24.3MP full-frame sensor – perfectly respectable at the time of its release – the A99 II is furnished with something much more powerful. The back-illuminated Exmor R CMOS sensor has an effective pixel count of 42.4MP, and features gapless
WE SAY... Sony has made some significant changes from the original A99 for this latest iteration, and the result is a camera that should satisfy a broad range of users.
microlenses to help funnel as much light as possible into each photosite. There’s no anti-aliasing filter to enable better detail retention, and Sony has primed it with an antireflective coating too. The original A99 was no slouch with regards to burst shooting, capturing images at 6fps at full resolution and up to 10fps in a cropped setting, but Sony has now boosted the former figure to 12fps. Not only is this impressive when you consider the camera’s resolution, but also because autofocus and auto-exposure is maintained between frames when set to this option. The camera’s shutter speed range runs from 30 seconds up to 1/8000 sec, with a bulb option also provided. This is pretty much as expected for a model of the A99 II’s class, although it’s worth noting that many compacts and compact system cameras offer top shutter speeds in excess of this though electronic shutters. Flash sync speed, meanwhile, is set to 1/250 sec, which is also pretty standard for a pro-grade model such as this. The rear LCD screen maintains the 3-inch dimensions and 1,228k-dot resolution of the A99’s, and the clever tilting mechanism on which it’s mounted. The viewfinder above it is also similar to the one we saw previously, being centered around an 0.5-inch-type OLED panel that offers a 2,359k-dot resolution, although Sony has increased its magnification from 0.71x to 0.78x. In practice, this means the view will be larger, which in turn allows for details to be seen more clearly. Sony has chosen to include its previously seen 4D Focus technology in the A99 II. Although this has featured inside a number of both mirrored and mirrorless Sony models, this is the first time we’ve seen the system inside a full-frame
option from the company. One thing that does impress is the camera’s ability to focus in poor lighting conditions. Sony rates the system as having a working range down to -4EV, which is strong for a model of this class. To give this some context, Nikon’s pricier D5 has a -4EV rating, but its Canon EOS-1D X Mark II rival only goes down to -3EV. It’s both swift and accurate here when using the central points, understandably hesitating more when faced with a low-contrast subject but often eventually getting it right here too. One quirk is that, when faced with such scenes, the camera has an occasional tendency to take the image when the subject appears to be in focus, without it actually visibly or audibly notifying you that it has achieved this. Noise control in general is also commendable. Indoors, images captured at around ISO6400 show a very fine patterning that can be quickly dealt with in post, and if you’re happy to stick to ISO3200 and under you’ll be rewarded with even more natural-looking results. No doubt the lack of an anti-aliasing filter is partly what helps images to retain their details as well as they do here. it’s no surprise to see the A99 II as a significantly stronger camera. While many core features have, in
some way, been upgraded – a higher-resolution sensor, more capable autofocus system, better video specs and upgraded viewfinder to name just a handful – it’s welcome to find Sony paying attention to smaller details, such as the Silent Multi Control dial. Thanks to the new imaging pipeline, image quality is strong. Having a high-resolution sensor that’s capable of low noise and wide dynamic range at the camera’s heart is the A99 II’s greatest asset, while video quality is also very good, and helped with a range of supporting features. And yet, at the same time the camera maintains much of what we loved about the A99, with excellent handing and the benefits of the SLT system presenting very real advantages over more traditional DSLRs. Overall, Sony has very much got things right with the A99 II. The company’s A7 line, together with Pentax’s entry into the full-frame market and the arrival of a couple of medium format options, may mean this camera enters a very different market from the one the A99 was launched into, but with a unique blend of features and commendable performance, it can still very much hold its own. Matt Golowczynski
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Sony essentials
MUST-BUY accessories
Whether you’re looking to shoot new subjects or carry your device in style, these items should be at the top of every Sony owner’s wish list
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take your work to the next level and at the same time they can make even the trickiest of shoots easier to complete. In fact, some of the must-buy accessories that we’ve listed below enable you to produce work that would otherwise be impossible to capture,
while others keep you shooting for longer, or in more comfort than ever before. Beginning at just £25, these camera accessories don’t all have to break the bank, but they still may just change the way that you shoot for good.
Nissin Di700 Air Flashgun
Billingham Hadley Small
Peak Design Capture Camera Clip V3 with QR Plate
£169/$293 (approx)
£149/$230
£69/$70
Whether your camera has built-in flash or not, if you find yourself regularly shooting in difficult light conditions, or if you’re looking to start illuminating subjects more creatively, it won’t be long before you’ll be considering buying a flashgun. Blending a range of advanced features such as HighSpeed Sync and TTL compatibility, a radio receiver unit for wireless triggering and a fully adjustable head, as well as a powerful output of 54GN (200mm ISO 100), the Nissin Di700 Air Flashgun is an extremely well-rounded option that boasts a competitive price tag.
Handmade in England from weatherproof ‘Stormblock’ material, full grain leather and brass fixings, Billingham’s refined creations have been synonymous with quality since the company’s establishment in 1973. The Hadley Small messenger bag is the perfect size for a DSLR or CSC with 2/3 mid-size lenses and a few accessories, protecting them with padded dividers inside something that doesn’t scream “camera bag” to the unscrupulous. It’s available in a variety of colours to suit discerning photographers’ sense of style. Treat your setup to the home it deserves while out exploring new destinations.
Looking for way to carry your camera that’s a bit more convenient than a strap that leaves it swinging against you, but that still keeps it accessible unlike a bag? Then look no further. The Capture Clip V3 can be attached to any belt or rucksack, while its Arca tripod-compatible QR plate affixes to the base screw of a camera. Lock the plate into the clip, and it’ll keep your device close to hand, but still rigidly stable. Able to support weights of up to 90kg, the Capture Clip V3 is strong enough for the heaviest of equipment combinations, and its security lock stops any accidental release.
ith your Sony camera and lenses now selected, your gear setup has started to take form, but no matter what photographic genre you choose to specialise in, it’s the accessories you choose to complement your main gear that can help you to
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accessories
SanDisk 64GB Extreme Pro 300MB/s UHS-II SDXC £115/$190 (approx) Let’s face it; memory cards aren’t the most exciting of camera accessories, but if you want to get the best out of your device, they are essential. Not only does this 64GB Sandisk card provide enough capacity for over 8,000 22mp JPEGs (enough room to keeping you shooting all day without changing cards), but with shot speeds of up to 260MB/s, and transfer speeds up to 300MB/s, it’s easily fast enough to cope with 4K video recording and fast continuous stills shooting too. Put this SD into your camera, and make card buffering a thing of the past.
Hahnel Procube 2 £69/$70 Never be left without power again. Hahnel’s Procube 2 is able to quickly and simultaneously charge two Sony batteries or four rechargeable AAs in only 90 minutes, with their current power level clearly indicated on its LCD display. It also has an output for a USB-charged device like a smartphone or compact camera, and
comes complete with adaptors for the UK, Euro, and US plugs, making it an all-in-one charging solution. With a 12V car lead included, you can even recharge your equipment en route to locations, something that could save the day if you forget to have a charging session the night before a big shoot!
WD My Passport Wireless Pro 1TB £125/$160
Black Rapid Cross Shot Breathe £40/$52 The Cross Shot Breathe with its rubber overmolded padding is a comfortable sling-style strap that spreads the strain of loads far more evenly than traditional neck straps. Worn crossbody so that an attached camera sits within easy grasp at the hip, the strap incorporates a sliding system that allows it to be freely
moved, making it ideal for street and travel photography where subject response time is important. A Lockstar carabiner protector ensures camera security at all times, while the Cross Shot Breathe’s ambidextrous design means that it can be worn over either the right or left shoulder.
Not only does the Mac and PCcompatible My Passport Pro provide the perfect place to store your images post-shoot for processing, but with the option to one-touch backup straight from an SD card too (without the need for a PC), it’s an ideal on-location safety net. With a built-in ten-hour battery and WiFi connectivity, it can also be used as a portable media server, allowing you to wirelessly stream photos and videos from it to another smart device, while doubling as a portable charger for USB-powered devices such as phones and compacts. 45
techniques
4 master manual focus Ensure your images are sharp by perfecting this skill
© Stefan Lackner
A lot of sharpness issues come from failed focusing or a lack of understanding when it comes to focusing correctly. Modern cameras generally have impressive autofocus capabilities – but for absolute precision, you should master manual focusing. “I greatly prefer manual focus for landscapes,” says Matt Reynolds. “I think many new users are afraid of manual focus and hesitant to use it, but at closed-down apertures it is actually not complicated and, after some experience, can even be faster.” “Mirrorless cameras have some built-in focus aids to help with manual focus, such as focus peaking and focus magnification. For me, the most used and helpful is focus magnification,
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where I can zoom into the scene and check focus at my current aperture settings with an assigned button.” Similarly, you can use Live View when using manual focus and zoom into specific points in your scene that you would like to be sharp, then adjust the focus until each required element is in focus. Getting to grips with the hyperfocal distance of your lens will help you to ensure that your imagery is as sharp as possible. The hyperfocal focusing distance is the focal distance where the depth of field is maximised for a given aperture and focal-length combination. In order to get front-to-back sharpness, beginners are usually told to focus a third of the way into the
scene, but this guideline doesn’t take the focal length and aperture of your lens into account, which is where the hyperfocal distance comes in. The easiest way to work out the hyperfocal distance is by downloading a chart from the internet or downloading an app; then you can work out the desired focusing distance using the focal length and aperture that you are shooting with. Another manual focusing technique, similar to hyperfocal focusing, is zone focusing. This involves pre-focusing your camera to a certain distance away then using the depth of field to create a zone of focus, which should mean that whenever your subject enters the zone, it will be in focus.
Š Paul Ewing
Opposite
Panoramic sharpness Creating a panorama is an effective way of merging a series of images together to create a wider angle of view with more than one point of focus
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Forth bridges When your subject is not central in the frame you may need to consider the focusrecompose technique or experiment with manual focus
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techniques
WORK WITH RAW Learn to use the power of RAW editing software with these key techniques indefinitely, without loss of image quality and risk of file corruption. This means multiple processing styles can be sourced from a single file, vastly increasing the versatility of every image. Once you have decided to shoot RAW, the next decision is which editing steps should be done in RAW applications and what to leave for later Photoshop work. The adjustments you should be making in RAW processing are those which are the most ‘destructive’ and hardest to undo. These span white balance, exposure, sharpening and noise Right
Out-of-camera While composition was finalised at the shooting stage, this RAW image is not yet ready for print or web
2x © Danilo Faria
It is generally accepted that a RAW workflow should be the choice of most professional photographers. Unless there is a specific reason for choosing JPEG as a file format, such as maximising memory card space and buffer capacity, RAW files offer far greater flexibility. There is still some confusion amongst photographers surrounding the actual advantages offered by RAW, however. Unlike JPEGs or even TIFF files, RAW images contain all of the data captured by the imaging sensor, including full colour information. This allows changes to be made to white balance at any time and in a manner that is similar to in-camera colour temperature selection. The true benefit is that of future-proofing – any adjustments made can be revisited and altered
reduction, as these have the potential to damage your files, introducing pixelation artefacts and colour banding effects. Noise reduction often blurs image detail, so having the option to return to an image and reduce NR settings for a better noise/detail balance is a major advantage. Sharpening can also be tailored for both print and digital output, all from the same image. Add the following techniques to your processing repertoire to get more from your RAW files.
before
after Express natural impact This RAW-processed image displays corrected exposure, colour and sharpness. Danilo Faria (defariaphotography. com) reveals his editing steps in the guide below
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Correct perspective Reduce distortions and chromatic aberration, scaling to remove peripheral space.
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Reduce noise Noise is prominent in flat areas such as the sky – use global and local reduction to reduce this.
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Enhance colour Control the impact of each colour individually using the HSL panel for tailored effects.
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Straighten horizon Uneven horizons ruin an image – even though I was levelled, the landscape is undulated.
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Sharpen for web Sharpening varies for print and online output destinations – edit with the final product in mind.
RAW sharpening
Sharpen non-destructively in RAW processing
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Masking Dragging the Masking slider to the right limits sharpening to edges, eliminating flat-toned areas and minimising the exaggeration of noise. The further the slider is moved, the more narrowly targeted it is.
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Zoom in In order to accurately judge the extent of sharpening needed, zoom in to 100% on a visible edge, with higher contrast. Enabling you to view the sharpening effect in real time and will help avoid over-sharpening.
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Set Radius The Radius slider defines how pronounced the sharpening is. A low setting enables you to enhance fine detail, while a larger value helps sharpen softer edges. Try to avoid settings above 1.5.
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Setting the Black and White points enables you to allocate a brightness value to the lightest and darkest tones in your image. This adds contrast to your shot, but also helps prevent losing highlight and shadow detail while you are editing your image, as this way no tone will ever be pushed to pure black or white.
Bring out detail While the Masking slider protects flat areas, the Detail slider reduces halo effects, common to sharpening. A low value has the most effect, so increase this for more ‘obvious’ sharpening.
Amount Gradually move this sharpening slider to the right, starting at a value of 40, only increasing further if your image is significantly blurred. A setting of 50 to 70 is appropriate for shots made with stacked filters.
Selective sharpening Refine sharpening by applying it on a local level, using the Adjustment Brush (K). Select a brush with a small size, medium Feather and mid-to-low Flow to gradually build up sharpening.
Set Black and White points
Take advanced control of image contrast using these vital, yet simple sliders before
Left side
after
Lacking contrast In this image, the White points are too far from 255 (pure white) meaning white areas have turned grey, creating a dull image. Shadow areas are washed out
Right side
Blacks and Whites defined
© Peter Fenech
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10 essential editing techniques
By holding down the Alt key for a preview, while moving the Blacks and Whites sliders, these points can be pushed as close to pure black and white as possible, protecting detail and adding impact
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ADVANCED techniques
creative sport &action
Stroboscopic composition By correctly timing your subject movement, flash frequency and count, an eye-catching, balanced composition can be achieved Š IIko Allexandroff
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Fast-paced and adrenaline-fueled, sports photography is an exciting genre. Learn how to create unique shots with our detailed guide
Creative sport & action
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ports photographers often say that the genre is infuriating, stressful, exhausting and addictively good fun all at the same time. Its ultra-fastpaced nature means a great deal of camera skill is required to capture a perfect moment of order in an otherwise chaotic environment. The main challenges relate to correct exposure, short-enough shutter speeds to freeze movement, composition and accurate
focusing of erratic subjects. It’s vital to know your camera inside and out, so that you are able to recognise where it will excel and where it will struggle to deliver the results you require. Even the most advanced cameras can find it challenging to lock on focus and hold it, while tracking a subject at high speed. Add into the mix the need to produce clean, noisefree images at the very high ISO sensitivities that are indigenous to the genre, and a sports
shooter’s kit is truly pushed to its limits. Yet on top of these challenges, a photographer working in this area needs to be as creative as those shooting any other subject matter. Simply freezing a football player in mid-air by setting the highest viable shutter speed is unlikely to be enough to draw in a viewer and inspire their imagination, just as a wellexposed shot of an empty landscape will fail to attract attention.
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