A follow up on the Sony a77's.

Since I'm not a professional reviewer and don't get paid to grab a camera out of a box and put it through a series of carefully engineered tests my understanding of a camera tends to grow organically.  I learn something new about a camera because I need to use a feature on a job.  I stumble across an interesting menu item with randomly scrolling through the menu while waiting for a tardy friend to meet me for lunch.  And occasionally there's the "Aha!" moment when the interconnection between the flash and the camera suddenly becomes apparent to me.

Some things about the Sony a 77 are a mystery to me right now because I haven't tried them.  Like the workings of the off camera flash control.  If I had two or more flashes and a need for a portable studio-like set up I'd take the time to read the manual and experiment with the units before I walked out the door.

Keeping all that in mind let me tell you a few of the things I discovered last week and the week before.  First, this camera has been labeled a "work in progress" because Sony keeps releasing firmware updates that improve operational speed and seem to improve image quality.  People were dissatisfied with a time lag between turning a control on the camera and seeing the change reflected on one of the display panels.  That was fixed in 1.05.  But along with the speed fix also came (to my eyes) an improvement in Jpeg file quality.  When the camera came out onto the market the first adopters were quick to label it a "raw only" camera.  That generally means that the sensor is capable of really good image quality but the camera is let down by so-so Jpeg renderings.  The conventional wisdom is to always use raw and make your own Jpegs as necessary from the raw files.

Yeah. I get it.  But I also get that the raw files are only available at full resolution and they're big.  Really big.  After I upgraded the firmware in both of my a77's to 1.05 I tested them around the studio and in the back yard and I found the jpegs to be at least as good as the Jpegs I'd gotten from any one of my Canon cameras and better than several of them.  So, on the very next job, done in full sunlight, I shot Jpeg and I set the camera for 12 megapixel file sizes at super-fine jpeg.  That tripled the number of files I was able to shoot on one card.  And when I looked at the images I was satisfied.

On the same job I needed to be able to use the cameras with the flagship flash, the HVL-58, to provide fill light for all the people standing around and chatting in the bright morning sun.  The flash works automatically in terms of switching to HSS mode, where necessary.  I'd been warned that the camera and flash combination could be a little "hot." (Prone to over exposure). But though it did look a little bit hot in the EVF, back at home on the big monitor it was as to perfect as I could ask for.

Two things I learning on that shoot about the flash:  If you tilt the head up, or use it in another other bounce mode, the unit and camera refuse to do high speed sync.  The flash has to be in the default position to take advantage of the "sunlight tamer" setting.  And secondly, unlike the Nikon and Canon flashes, there is no way to dial in flash exposure compensation on the body of the flash.  You have to hit the function menu and set your flash exposure compensation there.  

Some wags protested that they would never get used to using a camera with an EVF but it's already transparent to me.  I'm happy having a lot more finder "real estate" than any of the other cropped frame, conventional cameras....  I'm already acclimated to the point that I feel more confindent "pre-chimping and then shooting rather than shooting something and stopping, taking the camera from my eye and reviewing it on the back LCD.  While most of the settings are integrated into the pre-shot EVF finder image you can push the little preview button on the camera and it will give you preview frame with depth of field and a few other parameters incorporated.

While I consider a ten frame per second burst to be pretty high performance the camera's performance is offset by a smaller buffer than I'm used to.  Holding the shutter button down for about 1.5 seconds when the camera is set for 10 fps fills the buffer with 15 shots.  If the files are raw, or raw+jpegs, you've got some write time ahead of you.

In full sun I also used several of the camera gimmicks.  I set the camera to a mild level of in-camera HDR for shooting a white banner against a so-so sky and was able to put a little more drama in the sky without making the white banner too muddy.  In bright sun I used the DRO (dynamic range optimizer) to supply a bit more dynamic range.  The result was an opening up of the deep shadows.

The cameras are not at the level that the new Canon 5Dmk3's or Nikon D800's are as far as build quality and ultimate AF performance but they are less than half the price which means a pro just starting out their business can have two.  One for a back-up.  Or one to shoot a wide-to-normal zoom lens and the other to shoot a normal-to-telephoto zoom lens with.

While the a77 is not the ultimate high ISO camera it's latest firmware upgrade seems to give me better performance at ISO 1600 and, when using the camera in the sweet ranges of 50 to 800 ISO the files are very detailed and easy to post process.

Do I have any really big gripes about the Sony's?  Yes.  I hate the non-standard flash shoe.  All my radio triggers, manual flashes and light panels have standard shoes.  I ordered five Sony to normal adapters and they all seem to work well.  They even give me an additional PC sync socket for the times when I really want to rock my flash "old school"  and use the long, fallible cables but I wish I didn't need to remember to always carry them along---just in case.

I wish the Sony would offer compressed raw files, ala Nikon or Small, Medium and Large raw files, ala Canon (I prefer the Canon approach...) There are many times when I'd like a raw file to work with but the final use for the image is on the web and the humongous files seem like a ponderous impediment.

I would like a really nice wide angle zoom from Sony.  Their 11-18 is just like the Tamron lens.  I owned it for the Canon 7D and it was no great shakes.  Right now I'm resisting buying anything shorter than my 16-50mm lens since it seems like Sony is on the cusp of introducing a full frame SLT camera (EVF enabled) and if they do I'll buy one of those and a 20mm and use it for my wide angle shots.

My final observation in this "rolling review" segment concerns my favorite lenses.  Based on quality and specs-on-paper you would think I'd give the nod to the 16-50mm and the 70-200 2.8 but that's not what has me excited right now.  Those lenses share the same fault as similar lenses from Nikon and Canon = they are too damn heavy.  Instead, the lenses I'm liking are some of the odd ball single focal length lenses and one "sleeper" zoom lens.  The groovy SFL lenses are the 30mm f2.8 macro, the 50mm 1.4 and the 85mm 2.8. All are small and lightweight.  The 50 and the 85 will both work on full format cameras.  All are impressively sharp and focus noisily but quickly and surely.  The "sleeper" zoom is the 55-200 DT (cropped frame) lens.  It's really, really sharp.  Even wide open.  And it weighs next to nothing compared to the big, white counterpart.

I know that very few of the readers shoot with Sonys and that's okay.  But I did want to make a more general observation about the genre of cameras that Sony calls SLT's.  Once you've worked with an electronic viewfinder, both for video and stills, it's hard to go back to the basic OVF.  I recommend playing with these if for no other reason than to preview what might be ahead for the rest of the industry.  

The bizarre and non-standard Sony hot shoe.....



  1. I'm shooting with Sony kit. Whilst I don't get really excited about gear chat it's great too see professionals championing Sony's innovations (they may need it at the moment).

    Sony's A55 was my first serious camera so I started with EVF's. I then changed to Sony's FF a900 which has a very large bright 100% OVF. Whilst I love the a900 I still miss much of the functionality of the EVF on the a55 and can't wait for Sony's FF DSLT (September?). I suspect it will be the same for many newcomers to photography. I think a newcomer given the choice of both VF systems would take the EVF over the OVF, especially as the resolution continues to increase.

  2. Nice review, Kirk.

    It is interesting to see that sleeper of a lens show up in your favorites, though I'm not terribly surprised - the only real fault of the Canon version of that lens is that it's pretty slow (and slow to focus). They are really doing well with optimizing glass for the smaller image circles.

  3. For me, yours was just the right approach to a review. Your choosing this gear to deliver results speaks volumes. There are plenty of sites that do a good job with the purely quantitative results, and I think that I can learn more from what I will call an impressionistic approach with full disclosure of biases.

    As for EVF, I think that you are on to something. Personally, I am among the terminally ambivalent and chose a Fuji X100, but I find myself using the electronic finder more than the optical, and it's probably less stellar than the Sony's.

    My only quarrel is with the hyphen in prechimping. But since you seem to have invented the term, I guess that pre-chimping it is.

  4. The fact that what you see in an EVF closely resembles what the end product will be takes one more variable out of the equation for me. I like to pre-chimp. Just about every photographer I know post chimps any way. I like skipping that step.

  5. If the current crop of EVFs portends even more luscious FF versions, I worry that there will have to be support groups from those who suffer from the heartbreak of four hour pre-chimping

  6. The "pre-chimp" behavior of EVF's (real time preview of exposure and composition) seems to work best in ambient and/or continuous lighting.

    When you combine EVF cameras with flash, you get a jarring shift between the modeling/ambient light, and the fully lit image review. By the time your eye adjusts to the shift in exposure and pattern, the image review clicks off, and you're back in live view.

    When you combine EVF cameras with continuous lights (tungsten, LED, CFL), you enter the world of WYSIWYG. There is consistency between the viewfinder before AND after the shot is taken. You get a much more thorough grasp of what matters before the preview shuts off. Minor adjustments in angle and intensity are much easier to make.

    1. All good points. I shot with the camera and flash yesterday evening and it will take some time to fine tune my process for that.

  7. I shoot Sony.......started with Minolta many years ago. I really appreciate your thought and comments on the A77. Looking to upgrade my A700 when funds permit and hope to purchase the A77.
    Thanks again for your continued blog post on a variety of topics. I have never met you, but hope to some day. You are what a real photographer/person/risk taker is all about.

  8. I still have a hard time composing as well with the EVF in my GH2. I'm not sure what it is, but it's like my brain just doesn't register the image as well, and I'm not able to judge the potential quality compared to an optical viewfinder, so I take the shot and hope for the best when I get home. But I've yet to look through the more advanced Sony models.

  9. I agree about the EVF. When I shoot with my Panasonic G3, I seldom have the LCD screen open. I just use the EVF exclusively.

    When I pick up a Canon DSLR after shooting with the Panasonic G3, it takes me a while to get used to the inability to use the Canon viewfinder for menu changes, image review, preview, etc. What a let down - it's just a viewfinder.

    I'm thinking/hoping the next line of pro-sumer cameras from Can/kon will have EVFs in them. In addition to all the benefits to still shooting, it will actually make the video functions on a DSLR usable.

    1. Ron, thanks for mentioning the EVF in context of video. I shot video with the a77 yesterday and I can't imagine now not having an EVF with focus peaking in a working video camera. To cobble on a Zacuto loupe or a shaded monitor to do your work anchors you back into the dark ages of video production.

  10. The non standard Sony/Minolta hot shoe is designed to save your equipment from a serious repair. Should you drop it, the flash hot shoe breaks off to save the camera unit. Notice the bottom plate is secured with 6 screws and is easy to replace. I've shot with this system for 6 years, these plastic shoes last. I only had to send one of my flashes for repair once when the wind caught one of my stands. Sony returned my flash in 4 days. The locking mechanism is fast to operate and you will never leave your flash unfastened.

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