Today, Sony extended this to include the excellent lenses from Carl Zeiss, but it is less significant than the already large set of tele-lenses from Minolta. Actually, this company had designed an impressive set of long focal prime lenses and a nice set of pro zoom lenses.

Wildlife photographers will actually find a wealth of very good quality lenses even if some of them are either second-hand lenses or re-branded Minolta lenses incorporated into the Sony line-up. But the best news for them is that since Sony incorporates Image Stabilization in the body rather than the lenses, all old Minolta glass immediately got IS when used on a Sony SLR camera like the Alpha 700 or the Alpha 900. A real treat for people willing to use second-hand lenses from eBay…

Amateur

If your priority is to keep the total budget at a rock bottom level, there are two interesting lenses to watch for. The first and most impressive one if the 70-400mm f/4-5,6G SAL-70400G. A recent design from Sony, this is widely considered as the best zoom lens of this category (Canon 100-400mm offering is just not as good and Nikon’s 80-400mm is clearly of lower quality). The price is not small but it gives quite a focal length range.

Interestingly, there is another lens that Sony wildlife SLR photographer should also consider: The 500mm f/8 Reflex SAL-500F80 is a mirror (or reflex) lens, so it brings all the good and bad of such a technology.

Good: Impossibly light 500mm lens (stabilized by the SLR body, of course) with a reasonable quality.

Bad: The fixed aperture is forcing to choose shutter speed against ISO sensitivity.

Bonus: While most mirror/reflex lenses do not allow AF, this is the only reflex lens on the market that can auto-focus on all the Alpha-series SLR bodies.

Speaking of cameras, Sony has a large choice (too large?) of SLR cameras. I will risk a recommendation of the Alpha 55. Despite being really flawed for video capture (an overheating sensor is strongly limiting the length of video clips), it offers an excellent 16MP digital APS-C photo sensor with good AF and amazingly fast continuous shooting rates (10 fps) if you can tolerate the ugly electronic viewfinder.

For landscape photography, use the Sony 18-70mm f/3.5-5.6 DT SAL-1870 that will probably come in kit with your camera bosy. This is a bargain.

Enthusiast

The expert photographer will take advantage of second-hand lenses and this is the real good surprise of the Sony solution for wildlife and nature photographers. Prices can drop significantly here while I recommend taking advantage of the exceptional prime lenses available.

Your first choice must be second-hand since these are only from Minolta: Select the 300mm f/4 APO G and the 400mm f/4,5 APO G (two of the “white primes” of the pro G line of Minolta). Relatively light weight and impressively good quality makes these obvious choices. The only real issue is that the 400mm is very rare. You may have to spend some real time looking for it even on eBay. Despite that, prices stay at a reasonable level.

Quite significantly, all the APO G tele-lenses have been designed by Minolta with the focal multipliers in mind, to the point that the focal doubler doesn’t degrade images as much as doublers for Canon or Nikon brands). I recommend strongly the 1,4x multiplier from Sony (or the older Minolta branded if it is a mint-quality second-hand).

Currently, Sony problem is that there is no SLR body that can seriously be recommended here: The Alpha 55 electronic viewfinder will not satisfy any of the enthusiast photographers. The only reasonable choice is between the Alpha 850 (or Alpha 900) and the upcoming/promised replacement for the Alpha 700. A full frame SLR like the A850/A900 is tempting because of its exceptionally good price (under 2000$) but you will loose the focal extension provided by APS-C sensors while the A850/A900 are not very reactive (relatively slow AF and limited continuous shooting). The Alpha 700 is still a good camera at a very good price, but it is now ready for a replacement in 2011. If Sony does not install in it one of their (successful but ugly) electronic viewfinders, the Alpha 750 (tentative name) will be a better choice.

Complementing the initial prime tele-lenses, you would add a Sony 24-70mm f/2.8 ZA Carl Zeiss Vario Sonnar T* SAL-2470Z (same as before) and possibly a Sony 16-35mm f/2.8 Carl Zeiss Vario Sonnar T* SAL-1635ZA. Both are expensive and heavy gear, but you can’t get any better.

In between, a Konica Minolta 200mm f/2.8 APO G AF would be a nice complement for a relatively short tele lens.

Pro

Unfortunately, Sony does not provide a perfect solution set at the pro level. The camera body choice will be limited by the same constraints as above for the expert/enthusiast (either A850/A900 or future A750). 2011 may also bring a new pro-level SLR camera body but nothing is really certain here.

Nevertheless, the long prime lens choice is relatively easy: Go for the Sony 300mm f/2.8 G SAL-300F28G which has all the bells and whistles of the top-quality glass deriving from the original Minolta design updated to the latest standards (including SSM smooth focus).

While you could keep the good old Minolta 400mm f/4,5 APO G previously mentioned, I am sure you are thinking about a 500mm. Unfortunately, while Sony has been showing models, we are still waiting for this lens (probably in February 2011). Quality should be there, since price and weight will be no issue.

As for the expert, before, these tele-lenses will be complemented with a Sony 24-70mm f/2.8 ZA Carl Zeiss Vario Sonnar T* SAL-2470Z and a Sony 16-35mm f/2.8 Carl Zeiss Vario Sonnar T* SAL-1635ZA. I would also add the pro-level (G-series) Sony 70-200mm f/2.8 G SAL-70200G zoom lens, for its quality and its SSM focus.

Conclusion

Really, Sony takes full advantage of the existing Minolta line-up of lenses. For example, the Minolta 400mm f/4,5 APO G is simply impressive for a cost usually under 2000$ and a weight compatible with most back-packs.

However, the mix of new technologies and relative lack of understanding of pro photographer needs for the SLR camera bodies, puts Sony is a dire position. It is no surprise that, currently, Sony cameras are not often seen in the bags of photo-safari travelers.

However, the arrival of new 2011 SLR bodies and of a world-class 500mm f/4 prime lens could gradually change this.

In between, Since we don’t often see wildlife photographers equipped with Sony gear, here is a David Bittner video clip where you may find some of the lenses lenses and camera bodies listed above. Will you be able to recognize the 300mm f/2.8 lens or the 70-200mm zoom?

photo © 2010 yellowcloud | more info (via: Wylio)

Update: This is now confirmed and the firmware can be downloaded freely.

According to SonyAlphaRumors.com, Sony will present tomorrow a new version of the firmware for the Sony Alpha 850 and 900 SLR Full Frame photo cameras. It should bring:

• Faster Autofocus
• Maximum exposure compensation range: Increased from ±3EV to ±5EV
• Increased exposure bracketing range for HDR: from a maximum of 4.0EV (three shots at -2EV, 0EV, +2EV) to a maximum of 6.0EV (-3EV, 0EV, +3EV).
• Shutter release, even when the camera body doesn’t detect an attached lens.

Download the new (free) firmware from Sony. As soon as it is available. Right now!

The direct link: http://support.sony-europe.com/dime/downloads/downloads.aspx?site=odw_fr_FR&f=FW_DSLR_A850_A900_V2_WIN_MAC&m=DSLR-A850

photo credit: Edur8

There is currently a Full Frame digital sensor being developed by Sony. Or more precisely, Sony currently works on a 24 mega-pixel technology in the Full Frame form factor (FX in the Nikon local language) and the two applications actually forecast are at Nikon for building the Nikon D800 and at Sony for the successor of the Alpha 850 and Alpha 900 (the name has certainly not been fixed right now). I’m told that there is also another brand talking to Sony right now about the opportunity to share this technology (another 24 MP in Full Frame clothes).

For the time being, it seems that (faithful to the Nikon tradition- the Sony digital sensor will be modified according to the needs of the yellow brand. It’s true that Nikon is never perfectly satisfied with what Sony offers in terms of sensors (but that the sensor core does not change, justifying completely the “same sensor as…” mention often repeated in the past around this issue) but that Nikon does not totally share the intensity of the Sony commitment for video in this part (the high-end) of the camera range.

Right now, Sony works to optimize the digital sensor sensitivity (given a Full Frame surface size, they try to bring the best image quality, the lowest digital noise and the highest ISO sensitivity). According to the data we got here, the cameras based upon this new digital sensor would be announced at the end of Summer 2011 with availability in the last quarter of 2011.

As a matter of fact, an online Chinese eCommerce web site published a product page for the Nikon D800. A photo, some features somewhat far from what is expected from Nikon, but after all, why not?

First and foremost, the resolution would (fast) climb to 24 MP, or near to the current maximum for Full Frame digital sensors, indicating a possible use of the Full Frame photo sensor from Sony (already used on Sony Alpha 900 and Alpha 850, but with some video-capture ability added).

Next, we find a shutter with speeds from 30s to 1/8000s for continuous bursts of 7 frames/second, video recording in 720p and 1080p, ISO 200-6400 (ext. to ISO 100-25600) light sensitivity, exposure metering using a 1005-RGB-point sensor and system, Nikon Multi-CAM 3500FX AF 51-point AF system, a fixed LCD screen attached to the back of the camera with a 3″ (7,5 cm) LCD with 921.000 pixels.

Clearly, this would build a relatively easy to predict kind of camera (apart from the high resolution of the sensor which would indicate Nikon is leaving the lonely track of low resolution Full Frame to go and catch up with Canon and Sony where they already succeed).

But this is still surprising. If this is more than an unfounded rumour, it will allow a prediction of the direction Sony is taking in terms of FF sensors and the successor to the Sony Alpha 900 and Alpha 850 would keep their resolution at 24 MP while video capture would be added like on the Nikon D800.

Eiffel Tower, by night – Copyright (C) Yves Roumazeilles

Now, I would like to underline the quality of a full series of posts, published by Patrick Moll on Alpha Numérique, and dedicated to comparing as precisely as possible the various offers now on the market to develop and improve as much as possible the pictures that -sometimes- we must shoot using very high levels of ISO sensitivity (with the troubling levels of digital noise that come with big ISO levels).

The list of the software programs taken into account is quite respectable:

• Image Data Converter 3
• Lightroom 3 / Camera Raw 6
• DxO Optics Pro 6
• Aperture 3
• Bibble Pro 5
• Capture One Pro 5
• ACDSee Pro 3
• Silkypix 4
• Lightzone 3
• Raw Developer 1 (dcraw)

Not bad, eh!

Even if the comparisons done here are not only for Sony photo cameras, Patrick Moll applied its tests to a quite appreciable list of cameras too:

• A100
• A550
• A700
• A900
• A330 (not ready yet when I published this post)

Even if you are not reading French, I highly recommend checking these (most of the posts are made of image comparisons using the yellow buttons to select the software program results you want to see). Even if you are equipped with Pentax, Canon or Nikon gear, the lessons you will draw from this are applicable on all the photo camera brands, concerning strengths and weaknesses of each of these software tools.

To understand the review process and the methodology, I would recommend the reading of (here, all in French):

• Introduction
• Réduction du bruit et accentuation

With the tests, body by body, you will immediately recognize the excellent results of Lightroom 3/Camera Raw 6 (these two Adobe software programs share a single common RAW file management core). Just behind, comes DxO Optics Pro 6 which is a bit more violent (or more accentuation prone) and the (not famous enough) Bibble Pro 5.

From this point, you will always be able to get the best from the photos you were forced into shooting in poor lighting conditions which required big ISO figures.

First, and this is very easy to predict, Sony is ready to add to its NEX range of photo cameras. Already noticed because of the originality of its concept (a very dense point-and-shoot-like body, very simple but able to hold not only the new lenses of the new NEX range, but also compatible with the existing Alpha lenses, to bring light onto an APS-C CMOS digital photo sensor brought in the Alpha SLR range). While NEX was received with an obvious interest, it still needs to prove that it fills the needs of a real public. And this may be easier when a few days before the Photokina show (in September) we will be able to see the new photo camera of the NEX range: The NEX-7, which should capture 1080p video up to 60 frames/s. This should bring it in direct competition with the Panasonic GH2 which is still the best digital video offer among the compact photo cameras.

On top of it, we already know that Sony just presented it NEX-VG10 video camera, which is the pure video solution in the NEX range (again with the same CMOS 14.2 MP digital sensor that Sony seems decided to apply to as many NEX and Alpha cameras as marketingly possible). Available in September (in parallel with the door opening of the Photokina), it will be sold around $2000 (probably a little less than 2000€ on the old E continent).

Of course, Sony will also present (and possibly make immediately available) some new NEX lenses. The one whose name is most often repeated, since the Yodobashi leak in May, is the Sony NEX 18-200mm f3.5-6.3 OSS.

Then, there is no need of a crystal ball to announce that Sony will speak a lot about 3D on the Photokina floor. All the company divisions (video games, movies, video, photography) have been committed to bring active product support to this technology defined as a key target for Sony.

But, will you say, where are the D-SLR here? I kept the finest morsel for this part of the meal I offer you. Sony is preparing a full overhaul of its Alpha range. The A290 and A390 are already here with a 14.2 MP sensor (but only in a-little-outdated CCD technology), here comes the flood. There’s no doubt that the successor of the Sony Alpha 700 is ready. It was nearly official in PMA 2010 (at the beginning of 2010):

I dream of having reliable information about its photo sensor, but it is nearly certain that it won’t be the ubiquitous 14MP CMOS sensor of NEX and A500 series. It will be an APS-C sensor capable of 1080p video capture at 30 fps (at least). Since Sony always repeated that they would never bring a photo camera with a half-thought video section (like some of the competition, they murmur), it will be worth looking into its detailed features. Moreover, I would bet a tidy sum that the camera will be named Alpha 750, even if it appears that A790 was a possibility during the design stage.

The Sony press photo for PMA2010 (above) also gave us an important bit of information: The Sony Alpha 750 will have a little brother also video capable (probably with a resolution limited to 14 MP). The rumor says –curiously enough– that it would be named Alpha 33, and I find this utterly surprising. We’ll see, but in the meantime, you could listen to what the Spanish DSLRmagazine has to say about its supposed semi-transparent mirror used to assist a good autofocus in LiveView mode (traduction française, English translation).

But there is another possibility to take into account. According to Réponses Photo, the French magazine, “Sony give [us] a rendezvous in September for other SLR news, but this time in the expert and pro ranges…” (emphasis is mine). It looks a lot like a leak out of a magazine already informed but held tight by the signing of an NDA (Non-Disclosure Agreement). It would seem very surprising that anybody knowledgeable would place the Sony Alpha 750 in the “pro” range, it is the “expert” announcement. But, the, here is the last event: A pro camera! The Sony Alpha 900 (and its little brother A850) would prepare itself for a new offspring in the use of an Alpha 950 (no certainty about the name, of course)! And that could be thunderous if they announced (availability in early 2011?) the new 32 MP Full Frame CMOS sensor in association with a new quad-core BIONZ processor (aka Quattro Bionz).

The other option in this part of the product lien would be the arrival of an Alpha 820 (this name is heard in several mouths right now) which would be a new effort to popularize the Alpha 900 after the sub-2000€ Alpha 850. Credibility: Very low in my (not so) humble opinion.

You will have noticed that I did not go heavy on the conditional tense despite the long list of news. Be prepraed to see a Sony showroom of enormous size and density in Köln, next September for the Photokina. Alpha, NEX, 3D, video, Sony is alive and kicking.

photo credit: Javier Paredes

You have to admit that you would like to know if the first Sony SLR camera supposed to be a pro photo camera, the Sony Alpha 900, is really up to the real-life constraints of a pro camera. Some people would really test it: Michael Reichmann from Luminous Landscape, simply took a Sony Alpha 900, a Sony 70-300mm f/4.5-5.6 G tele-zoom and 5 other lenses, for two weeks of photo travel in the Southernmost countries of this world. Result: A rather positive opinion, no real issue after submitting the photo camera to low temperatures and high humidity that were out of its normal operating range.

He also noted the incidents other cameras suffered around him (no less than 77 other photographers!). For example, the Canon EOS 5D MkII which did not survive in cold rain.

The Sony A900 test in Antartica.

A Sony Alpha 707 with HD video capture and ISO 12.800 sensitivity and a Sony Alpha 900SH with HD video.

Seriously! I can’t believe it for a moment… It’s so strange that I will not even create the Sony Alpha 7007 and Sony Alpha 900SH categories for the YLovePhoto menus.

Thanks to Mash for the link to PR. These guys are ready for any kind of rumour…

• Nikon D3x: 15 reviews
• Canon EOS 5D Mk II: 21 reviews
• Sony Alpha 900: 21 reviews
• Nikon D700: 16 reviews

A lot of reading for those who are either ready to shell several grands on a Full Frame SLR camera or are still waiting to get a new camera in a few years from now.

dPhotoExpert makes something similar, but much simpler, with a single comparison at 1600 ISO.

Unfortunately, there is no information about which software/firmware version is used (I expect that the results may change with future upgrades).

Comparing two SLR cameras with very very different prices is realy a tough task. So tough that it is often useless. In the Online Photographer, Michael Johnston still tries this daunting task of comparing the Sony Alpha 900 and the Nikon D3.

These are two cameras that are mostly linked by the fact that they have a 35mm Full Frame sensor. Their prices are not even in the same ballpark and the Sony is brand new, while the Nikon is on the market for more than a year now. However, I think that the comparison is quite interesting. To the point, that I invite you to read it from top to bottom.

There is no mere conclusion, but interesting comments that could be summarized by a few items:

1. The D3 is much faster in nearly all aspects; It’s also bigger and heavier.
2. Michael Johnston prefers the digital noise quality of higher ISOs from the Sony (but I think this is very subjective).
3. From the photos shown, I would say that the Sony Alpha 900 is helped by a better dynamic lighting optimization, but the added pixels are helping a lot images that need to be enlarged (or cropped) somewhat. Photoshop and DxO and other Raw file developers may compensate this, but shooting nearly right from the beginning is important.

This kind of comparison is also quite interesting because it emphasizes the important differences that we can find between high-pixel count Full Frame cameras and high-ISO (low-pixel count) Full Frame cameras. If you stay at relatively small images sizes (or printouts up to A4/Letter size) the Nikon D3 and its sibbling Nikon D700 are very powerful beasts that will run to the darkest place a camera can shoot. And this can be amazingly dark.

But if you start shooting large images (or print more than A4/Letter-size, or intend to significantly crop your images; like for large panoramic photos), a larger pixel-count may become quite critical. Then, you start looking at the Sony Alpha 900 or the Canon EOS 5D MkII. It really depends on the kind of use you have.

The comments from Michael Johnston about the “shoot-to-carry ratio” (ratio between shooting time and effort, and carrying time and stress) are also quite interesting and a very urgent reminder for all people who may be tempted to follow the Full Frame madness. If you go from a relatively light-weight camera to one of the heavier models, you should really think about the impact on your photographic behaviour. If you keep the camera to the eye and/or shoot a lot, a heavy camera is not a critical issue (that’s for pros), but if you carry the camera around and shoot only sparsely the mere weight may become a burden (that’s for many amateurs, even enthusiasts).

• Canon EOS 1Ds Mark III
• Canon EOS 5D
• Canon EOS 5D MkII
• Nikon D3
• Nikon D700
• Sony Alpha 900

As a matter of fact, this is a considerable advantage of the big/large sensors which can make use of pixels whose size is proportionnelly bigger and so apter to capture light without using the ammplification devices (usually generating or increasing noise image defects).

This is a good reason to find it interesting to go and check the images présented by DPreview in its Sony Alpha 900 test. They compare some of these cameras at sensitivity settings between 50 and 6400 ISO.

Think about what any other SLR camera would do at the same settings (ISO 3200, no less!): More or less colored blurred blotches.

If you want to get the user manual of the Sony Alpha 900, you just have to look here:

• In English
• En français

This can be translated into roughly $2900.