Sony DSC F828 Review

Sony DSC F 828 Review

Although the DSC-F828 may look like an updated DSC-F707/717 in terms of its L-shaped design, the only thing the DSC-F828 has in common with its predecessors is its tilting lens design. The first major innovation in the DSC-F828 is a completely new lens. The engineers at the renowned Carl Zeiss lens forge in Oberkochen (update: moved from Jena in February 2020) have developed a new Vario Sonnar zoom lens for the DSC-F828 that not only extends the focal length range upwards (up to 200 mm corresponding to small brilld) and downwards (up to 28 mm), but also integrates the T* coating – familiar from other Zeiss lenses – and an aperture with now 7 blades. Despite a larger zoom ratio (5x on the DSC-F505/505V/707/717, 7x on the DSC-F828), it retains the good macro capabilities (minimum distance 2 cm) of its predecessors and is virtually as fast (F2.0-2.5 on the DSC-F707/717, F2.0-2.8 on the DSC-F828). However, not only the lens itself is completely new, but also its operation: This is now carried out – based on the traditional operation of 35 mm lenses – via two separate and manually adjustable rotating rings for focusing and focal length adjustment.

Brief assessment

Pros

  • more natural colours (compared to the previous models)
  • solid processing, good ergonomics
  • CompactFlash/Microdrive compatible
  • powerful autofocus
  • unconventional housing concept

Cons

  • combined RAW/JPEG and TIFF/JPEG storage cannot be switched off
  • no automatic switching between LC viewfinder and LC display
  • no copy function between CompactFlash and Memory Stick card
  • High-speed VGA video recording (30 fps) only with Memory Stick PRO
  • pronounced color fringes

The Sony DSC-F828 does not have it easy. Since its announcement in August last year, it has been the focus of all discussions. The DSC-F828 has raised high expectations, as it heralded the 8-megapixel era. With extraordinary features such as the resolution, but also the CCD sensor with four-color mosaic, the semi-professional equipment (TTL hot shoe, the light-intensive 28-200mm zoom, the fast autofocus etc.) or the compatibility with CompactFlash memory cards, it has aroused a wide range of emotions. Among other things, interest, scepticism and, in some respects, envy.

The electronics of the DSC-F828 are also completely new, starting with the CCD sensor. At the latest since the discovery of a new Sony 8-megapixel CCD, our visitors have suspected that something is “in the bush”; which was partly already confirmed or confirmed with the announcement of the new 4-colour CCD from Sony. With the DSC-F828 comes the final certainty, or rather a concrete product equipped with this sensor and delivering images in a spectacular resolution of 3,264 x 2,448 pixels – a spectacular resolution for compact digital cameras. But which hardly anyone (including us) expected: The new Super HAD CCD does not have a standard Bayer RGB color mosaic filter for color generation, but “filters” the image in four colors. Thanks to an additional “Emerald” (i.e. emerald green) color filter, the CCD should be able to differentiate colors even better. The main advantage of the new CCD filter architecture should therefore be a more natural color reproduction. As Sony demonstrated with measurements and comparative images at the DSC-F828 press conference, the colour deviation of the DSC-F828 is said to be lower (colour deviation value in standard mode: 6.09) to significantly lower (color deviation value in so-called “real mode”: 3.39) than that of the Canon EOS D60 (color deviation value: 7.12) and the Nikon D100 (colour deviation value: 8.92) digital SLR cameras. But the new filter architecture is also expected to bring advantages in terms of dynamic range and noise behavior; according to Sony engineers, the picture noise of the DSC-F828 is not nearly as pronounced as one might fear due to the extreme pixel density (8 million pixels on a relatively small 2/3″ CCD).

To help users get the most out of the new CCD, the DSC-F828 comes with a RAW mode from Sony for the first time. The advantages of the RAW image file format are obvious: less storage space required compared to TIFF, relatively short processing and storage times (the “generation” of the color information is done later on the computer), highest possible image quality (no compression artifacts) and high flexibility (with RAW processing on the computer, the user can subsequently influence many image parameters such as color balance, sharpness without loss of quality). Of course, the DSC-F828 still allows you to save images in JPEG or TIFF format. And in this context there is another piece of good news that will please both the frequent snapshot-takers and all those who were suspicious of the memory tick: The DSC-F828 has two memory card slots – for Memory Sticks and for CompactFlash memory cards (Type I and II incl. Microdrive)! The Memory Stick slot is compatible with both the conventional Memory Stick and the Memory Stick PRO and – thanks to the parallel memory interface – also uses the full speed of the Memory Stick PRO.

 

In general, the DSC-F828 is expected to gain speed in many other areas as well. When you consider that the DSC-V1 we recently tested already set the standard in terms of autofocus and shutter release delay, you can be curious what “even faster” means with the DSC-F828. The DSC-F828 owes its high speed to a completely new signal processor called the Real Imaging Processor. This LSI (abbreviation for “Large Scale Integrated Circuit”) with a clock rate of 54 MHz was developed by Sony and accommodates no less than 13 million transistors in the smallest possible size (just under 1 cm edge length). Those who know from our field reports what a performance boost Canon has already brought to their cameras with the DIGIC signal processor can probably expect something similar with the DSC-F828. In any case, according to Sony, it should be ready for operation within one second and have a 23 percent shorter shutter release delay (total shutter release delay including CCD exposure, CCD readout, signal processing, preview image generation and JPEG encoding). The processing acceleration also benefits image playback (up to 5 times faster), resolution change (a VGA image is generated from the high-resolution output file in just 0.11 seconds), continuous shooting speed and video recording. Depending on whether or not the LCD screen of the DSC-F828 is turned on, the continuous shooting speed increases up to 3 frames per second (max. 7 frames in a row). The previously known MPEG VX mode is now called “MPEG VX fine” and retains its previous characteristics (recording in VGA resolution with sound and without a fixed time limit) at an increased frame rate (now 30 instead of 16.6 fps). As with Canon’s DIGIC processor, Sony’s Real Imaging Processor provides faster processing speed, better image quality (including noise reduction) and lower power consumption. The latter is said to drop by up to 30%; the InfoLithium battery NP-FM50, which is still used by the DSC-F828, is said to be able to take up to 480 pictures.

Other key innovations in the DSC-F828 include a new high-resolution electronic viewfinder (with 235,000 pixels instead of 180,000), a status LCD on the top of the body, faster shutter speeds (max. 1/3,200 sec.), a freely placeable AF area, significantly improved ergonomics (including a redesigned handle, repositioned controls and a new multi-function mini-joystick) and support for PictBridge cross-brand direct print technology. Otherwise, the DSC-F828 has an extended hot shoe (as already seen with the DSC-V1), a program shift function and all the important features of its predecessor or sister models (NightShot, NightFraming, 49-zone multi-field measurement, histogram display, laser/hologram AF, USB 2.0 interface, etc.). The scope of delivery includes the NP-FM50 battery including charger, a shoulder strap, the sun visor – previously available as an option – all necessary cables and a comprehensive software package. Interesting is the announcement of a new macro lens (VCL-M3358) as well as a 350 EUR expensive accessory kit, which contains among other things a 2-GByte-Microdrive (!). For the Sony DSC-F828 itself, Sony was charging 1,150 EUR at market launch.

Hardly any other camera is currently as controversially discussed as the Sony DSC-F828. Opinions are already divided on the basic question of whether 8 megapixels is fine enough. But the sometimes very passionate to heated discussions also revolve around such topics as color fringes or image noise. We have tried to look at the DSC-F828 as objectively or “soberly” as possible, and have not focused our attention solely on the above-mentioned issues.

Ergonomics And Workmanship

The DSC-F828 looks massive and solid at first sight, but thanks to the balanced distribution of proportions and weight, it sits comfortably in the hand. And this despite or thanks (depending on how you look at it) to the unusual L-construction with split case halves, as known since the DSC-F505 (built in 1999). This housing concept breaks with the monoblock architecture typical of analog cameras. The photographer’s left hand supports the lens, which also holds most of the camera weight. With your right hand you turn the other part of the housing to the desired position, so you always keep an eye on the LCD screen and don’t have to contort yourself to look through the electronic viewfinder. The intuitive focal length adjustment by means of a rotating ring, manual focusing by means of a focusing ring (which sets a stepping motor in motion) and the convenient positioning of the controls also contribute to the ease of use.

 

 

 

 

 

 

 

The “control centre” of the DSC-F828 appears neither overloaded nor untidy. With the DSC-F828, the functions are limited to the essentials and are distributed over the camera unit (camera top with mode selector wheel, direct vicinity of the LCD screen) and a panel on the side of the lens unit. Functions, parameters and settings are controlled via a miniature joystick, by pressing buttons and using a rotating wheel; in some cases, the DSC-F828 has rotating menus – like the Olympus C-5060 Wide Zoom – although this type of menu control is, subjectively speaking, better solved at Sony than at Olympus. Despite a good balance between features (enough functions to satisfy the needs of the discerning photographer) and clarity (no superfluous gimmicks or overkill), the DSC-F828’s user memory is well-balanced, allowing frequently used combinations of settings to be stored and recalled. Apart from that, there’s hardly anything to complain about in the operation of the Sony flagship. The camera appears as tidy as the handling: tripod thread, strap holders/eyelets, connection strip, battery and memory card slot all have their own place and do not get in each other’s way, only Memory Stick, reset button, rechargeable and buffer battery share the space in the lower part of the handle.

 

 

 

 

 

The DSC-F828 has three liquid crystal displays. The small, monochrome LC field on the top of the camera to the left of the mode dial displays the most important camera settings (exposure parameters, flash settings, battery status, remaining frame counter) and can also be read at night by switching on the backlight at the touch of a button. The 1.8″ LCD colour screen or the 0.44″ LCD colour viewfinder on the back of the camera can be used to create images and display various information or menus. Until recently, the resolution of the two (235,000 pixels for the viewfinder and 134,000 pixels for the screen) was state of the art. But since the announcement of the Minolta Dimage A2, whose LC viewfinder has no less than 922,000 pixels, and the Finecam models M400R and M410R from Kyocera, whose FLC viewfinder is said to be able to display a perceptible resolution of 300,000 pixels, there are better ones on the market. Nevertheless, the DSC-F828’s two colour LCDs can be used to check focus and show no weaknesses in other respects (readability in direct sunlight, noise in low light, inertia/tracking effects, contrast range). Perhaps Sony could, however, provide fade-in grid lines and/or other design aids with a future firmware update; this would do justice to the (semi) professional demands of the DSC-F828 a bit more. Not so easy to realize, but still desirable would be the automatic switching between LC viewfinder and LC display as it is available with different cameras, because the manual switching via the corresponding slide switch quickly becomes annoying.

Optics

A manually adjustable zoom lens, such as the DSC-F828, which is only available on the Minolta Dimage 5/7/7i/7Hi/A1/A2, offers only advantages. The precision, smoothness and discretion with which the focal length can be adjusted manually over a focal length range of 28 to 200 millimetres (35 mm equivalent) surpasses anything known from electrically/motor-controlled zooms and also does not require any power to function (which has a positive effect on battery life). When zooming, the lens barrel lengthens only slightly; important when using polarizing filters, gradient filters or various effect filters is the fact that the front lens does not rotate thanks to internal focusing. Focusing can be done either manually (the automatic magnification of the viewfinder image makes focusing easier) or by autofocus, with the DSC-F828’s autofocus again setting the standard. Not only can the AF measuring field be set automatically (on a cross-shaped area of 5 zones), “nailed down” in the middle (Center AF) or moved freely over the entire image field (Flexible Spot AF), the autofocus also works in total darkness thanks to the projection of a reference pattern by laser (so-called hologram AF). In addition, the DSC-F828’s autofocus also sets new standards in AF response time (see the Times section of this review for details). The DSC-F828’s autofocus is also completely silent and can adjust focus on command even with moving subjects. Another pleasant thing about the DSC-F828’s lens is its high speed of F2.0 to 2.8 and ultra-short close-up range of just 2 cm in macro mode in WW position.

 

 

 

 

 

Flash

Whether the “bulge” that houses the built-in miniature flash and on which you find the TTL hot shoe flatters the camera design is a matter of taste. Anyway, it is welcome that the internal flash only has to be unlocked manually if this has been set in the setup menu. Otherwise, the flash will pop up automatically when lighting conditions require it. For our taste, the flash is a little too strong, especially for close-ups, where even switching to macro mode doesn’t bring any improvement. Reducing the flash power helps to attenuate the over-radiation effects a little. Light fall-off at the corners of the image is mainly visible on uniform surfaces, whereby the cause is often to be found in the shading of the flash reflector by the sun visor, but also by the lens barrel alone. At least the flash is far enough away from the optical axis when extended to at least minimize the risk of red-eye phenomenon. Switching on the pre-flash to reduce the occurrence of red-eye is therefore not even absolutely necessary; although the ultimate weapon against rabbit eyes is a clip-on flash. This is available from Sony in the form of the HVL-F32X system flash. The medium-strong flash (guide number 32 measured by us) supports – partly thanks to additional contacts on the camera hot shoe and flash unit – fully automatic operation as well as all advanced functions of the flash system (measuring pre-flash, AF auxiliary light function, modelling light, energy-saving mode, manual operation with/without partial output, etc.). The reflector, which can be swivelled upwards, locks in the positions 0, 45, 60, 75 and 90 degrees for indirect flash; for direct flash, a built-in wide-angle diffuser can be swivelled in front of the reflector. The only thing missing from the HVL-F32X is a motor zoom to adjust the reflector position to the camera’s focal length, and wireless flash operation with multiple flash units. Although the flash metering with both the built-in flash and the HVL-F32X seems to be a pseudo-TTL system (both flashes have a metering cell), the exposure is fine in most cases and even in the macro range. The DSC-F828 and/or the HVL-F32X offer advanced flash functions in the form of a long time exposure sync function, a three step flash exposure correction and the possibility to switch off the measuring flash (practical when working with studio flash units).

 

 

Image quality

This topic is hotly discussed on the internet (including in the comments, that sometimes we deactivate when we cannot control spam, like now) for the Sony DSC-F828. It’s mostly about the relationship between resolution and noise – but most of all about the color fringes visible in some of the DSC-F828’s images. Without wanting to start another discussion about the cause of color fringes (chromatic aberrations and/or blooming): It is a fact that particularly with bright and over-emphasizing edges, clearly visible color fringes may occur. The color fringes can be partly attenuated by stopping down and adjusting the focal length, as they are most pronounced at the wide-angle and telephoto end and not quite as pronounced in the medium focal length range. If you can live with the color fringes or not or if something like this is allowed with a camera of this class is a matter of opinion and has to be decided by everybody. The same applies to the assessment of the noise behaviour. It was to be expected from the beginning that a camera that packs 8 million pixels on a CCD with a form factor of 2/3 inches would not produce less noise, but rather more than 5 megapixel cameras with the same image converter, which generally have a hard time controlling image noise. But whether the image noise on the DSC-F828 is much “worse” than on a 5 megapixel camera is left to one’s own subjectivity, at least when it comes to the visual assessment of the images.

The software measurements confirm that the DSC-F828 has a low to medium level of noise (with slight dominance in the darker parts of the image), with brightness noise and colour noise accounting for roughly equal shares of the overall noise. Those who accept the noise in expectation of a clearly higher resolution might be disappointed. The resolution (optically and electronically correlated) moves in the absolute range from medium (WW and Tele end) to high level (medium focal length range). We use the phrase “in the absolute range” because the higher the resolution, the more difficult it is for a camera to maintain high efficiency. The relatively low increase in resolution is partly explained by the special arrangement of the RGBE color filter mosaic in front of the CCD, since 4 instead of 3 color filters must now share the image information. The DSC-F828 copes very well with high subject contrasts. The camera can cope with differences in brightness of up to 9 f-stops without losing too much detail in the highlights and/or shadows; in medium to bright areas of the image, the brightness values are rich in contrast, while the shadows appear somewhat “softer”.

 

 

 

 

 

 

 

In contrast to other Sony models, the DSC-F828’s image detail is hardly affected by image errors and artefacts; only vertical lines show a slight colour moiré due to the CCD’s low-pass filter. Sharpness is also subtly restrained (low to medium sharpness at the horizontal and vertical edges) and the compression factors used (7-9 and 12, depending on the resolution) ensure that the loss of image quality is hardly or not at all visible to the naked eye. In terms of color reproduction, the “fluo colors” of the DSC-F707/717 are finally a thing of the past. When tested in real mode, the colours of the DSC-F828 are rendered relatively neutrally in the middle and dark areas; however, bright areas of the image show a visible pink tendency. Colors may be further alienated by white balance in auto mode or by recalling the presets, but manual white balance will give the most neutral results if handled correctly. For a little longer, since the DSC-F707, Sony has had exposure metering and control under control; even with backlighting or subjects with uneven brightness distribution, incorrect exposures are rare with the DSC-F828.

Since the color fringes in the DSC-F828’s images cannot be clearly attributed to electronics or optics, we want to leave them out of the discussion of optical imaging performance. That leaves the vignette/darkening of the edges and the distortion. At the WW and telephoto end, the Vario Sonnar zoom with T* coating signed by the lens manufacturer Carl Zeiss or the images of the DSC-F828 show a marginal darkening of a maximum of 0.38 f-stops, which is even lower (0.12 f-stops) at medium zoom position. Therewith, the vignetting should be in an area in which a trained eye and/or a uniform surface photographed with an open aperture is needed as motive in order to attract attention. What is more noticeable is the distortion, which is more or less pronounced depending on the focal length set – but without the DSC-F828 ever leaving the range (of digital cameras with the same zoom range). According to this, the distortion is clearly visible (barrel-shaped) at the WW end and decreases with increasing focal length to be just barely visible but negligible at the tele end.

Other Special Functions

As mentioned elsewhere in this review (under “Ergonomics And Workmanship” right above in this article), the DSC-F828’s feature set is limited to what’s essential – the basic functions required by the discerning photographer, plus a few useful special functions. These include the selection of the exposure metering mode (49-field matrix metering, center-weighted integral metering and spot metering) and the AF field (see “Optics” for more details), manual setting of the sensitivity (ISO 64/100/200/800), an exposure bracketing function, a histogram display that can be faded in, and the parameterization of sharpness, image contrast and color saturation – the latter unfortunately only in 3 steps each. A noise reduction function is also available, but without the user being able to influence its operation. What you might miss on the DSC-F828 is a BULB long exposure function, advanced white balance functions (multiple memories, fine correction, white balance bracketing), user memory, automatic switching between the viewfinder and LCD monitor, and a copy function from Memory Stick to CompactFlash (and vice versa). The lack of the ability to save RAW files individually (i.e. without a JPEG image) and select the colour space if desired can be omitted, but such features would further enhance the professionalism of the DSC-F828.

Nevertheless, there are a few “Sony specialties” on the DSC-F828. These are mainly the NightShot and NightFraming modes. While NightShot mode transforms the DSC-F828 into a night vision device that can also capture infrared images, NightFraming mode uses the night vision function only to focus on the subject and then capture ordinary colour images. More about these two unusual modes in our digitalkamera.de review of the DSC-F707 (see links below). Another typical Sony feature is the movie function, which has always been used to record video sequences as MPEG files (usually in AVI format for competitors). The DSC-F828 doesn’t do things by halves either, recording video in VGA resolution with sound, with no fixed time limit (depending on the capacity of the memory card used) and at a refresh rate of 30 frames per second. However, the latter is only possible with PRO version Memory Sticks; when using other Memory Sticks or CompactFlash cards, the frame rate drops to 16 frames per second. The tour of Sony’s specific functions ends with the choice between real and standard colour mode (different emphasis on colour saturation and image contrast), as well as between “precision” digital zoom and so-called “smart” zoom. The precision digital zoom can magnify the image up to 14 times, regardless of the selected resolution level, by zooming in and out and subsequent interpolation/scaling. With smart zoom, the magnification factor depends on the resolution level selected (the smaller the resolution selected, the larger the zoom factor); there is no subsequent interpolation/scaling.

It should also be noted that the DSC-F828 is capable of multiple menu languages (only since the DSC-V1 a matter of course at Sony) and, like every newer digital camera, supports the cross-manufacturer USB direct print standard PictBridge.

Conclusion

The Sony DSC-F828 has been the first 8-megapixel camera available on the market for a few weeks now, but the first 8-megapixel cameras from the competition are just coming onto the market. Particularly with regard to image quality, colour fringes and noise, Sony’s Zeiss hammer, as the DSC-F828 is called by various trade magazines, will have to put up with the comparison with its competitors – even if the phenomenon of noise and colour fringes is sometimes greatly overrated or treated very emotionally. But the DSC-F828 will also be caught in the barrage or crossfire of competitors in terms of function and features, who will shoot with live ammunition in the form of built-in image stabilizers, high-resolution video viewfinders, high-quality optics, ultrasonic motors, wireless TTL flash systems, upgrade options (including wide-angle optics), etc. But the Sony DSC-F828 does not have to admit defeat right away. It has two trump cards in its hand that should not be underestimated: the unique housing concept in this class with the swivel housing halves and the super-fast autofocus that works even in total darkness. This will allow the DSC-F828 to hold its own against the competition.

Brief assessment

Pros

  • more natural colors (compared to the previous models)
  • solid processing, good ergonomics
  • CompactFlash/Microdrive compatible
  • powerful autofocus
  • unconventional housing concept

Cons

  • combined RAW/JPEG and TIFF/JPEG storage cannot be switched off
  • no automatic switching between LC viewfinder and LC display
  • no copy function between CompactFlash and Memory Stick card
  • High-speed VGA video recording (30 fps) only with Memory Stick PRO
  • pronounced color fringes

Sony DSC-F828 Datasheet

Electronics

Sensor CCD sensor 2/3″ 8.8 x 6.6 mm (crop factor 3.9
)8.3 megapixels (physical), 8.1 megapixels (effective)
Pixelpitch 2.7 µm
Photo resolution
3.264 x 2.448 pixels (4:3)
2.592 x 1.944 pixels (4:3)
2.048 x 1.536 pixels (4:3)
1.280 x 960 pixels (4:3)
640 x 480 pixels (4:3)
Image formats JPG, RAW, TIF
Color depth 24 bits (8 bits per color channel), 48 bits (16 bits per color channel)
Metadata Exif (version 2.2), DCF standard
Video resolution
640 x 480 (4:3) 30 p
160 x 112 16 p
Video format
MPG [codec MPEG-2]

Lens

Focal length 28 to 200 mm (35mm equivalent
)7.1x zoomDigital zoom
14x
Sharpness range 50 cm to infinity (wide angle
)60 cm to infinity (telephoto)
Macro area 2 cm (wide angle
)60 cm (telephoto)
Aperture F2 to F8 (wide angle
)F2.8 to F8 (telephoto)
Autofocus yes
Autofocus functions Single AF, Continuous AF, Area AF, Manual
Filter thread 58 mm

Viewfinder and monitor

Monitor 1.8″ TFT LCD monitor with 134,400 pixels
Video finder Video viewfinder available

Exposure

Exposure metering Center-weighted integral measurement, matrix/multi-field measurement over 49 fields, spot measurement
Exposure times 1/3,200 to 1 s (Automatic
)1/2,000 to 30 s (Manual)
Exposure control Programmed automatic, Shutter priority, Aperture priority, Manual
Exposure bracketing function Bracketing function with a maximum of 3 shots, 1/3 to 1 EV increments
Exposure Compensation -2.0 to +2.0 EV with step size of 1/3 EV
Photosensitivity ISO 64 to ISO 200 (automatic
)ISO 64 to ISO 800 (manual)
Remote access non-existent
Scene modes Landscape, Night Scene, Portrait, 0 other scene modes
Picture effects Negative, Solarization
White balance Automatic, Clouds, Sun, Flash light, Fluorescent lamp, Incandescent light, Manual
Continuous shooting Framing burst continuous mode with a maximum of 7 consecutive images at 2.4fps and image playback turned onSpeed burst continuous mode
with a maximum of 7 consecutive images at 2.6fps and image playback turned off
Self-timer Self-timer with 10 s interval
Recording functions Live histogram

Flash

Flash built-in flash (flip up) Hot shoe: Sony hot shoe (until 2006)
Flash range 0.5 to 4.5 m at wide angle0
.6 to 3.3 m at telephoto
Flash functions Auto, fill-in flash, flash on, flash off, slow sync, red-eye reduction

Equipment

Image stabilizer no optical image stabilizer
Memory
Memory Stick (Pro)
second memory card slot
CF (Type I, Type II)
Microdrive
Power supply unit Power supply connection
Playback functions Red eye retouching, playback histogram, image index, slide show function, zoom out
Image parameters Contrast, color saturation, noise reduction
Connections Data interfaces: USB
Supported direct printing methods PictBridge
Tripod thread 1/4″
Special features and miscellaneous 14-bit DXP analog-to-digital signal conversionSmartZoom digital zoom
(magnification factor depends on the set resolution)
PrecisionZoom digital zoomClear
Colour-NR Colour noise reductionClear
Luminance-NR Brightness noise reductionSlow
Shutter-NR Long term exposure noise reductionHologram autofocus
with freely placeable focusing area, SpotAF function and focus trackingAF laser assist lightNightShot recording modeNightFraming recording modeShake warning displayEmail resolutionSpeech memo functionSubsequentresolutionchangePlayback

zoomImage alignment function

in playback modePTP image transfer

protocolMultilingual menu operation (ENG/FR/DE/SP/IT/P)
Multi-image recording (16 frames in one frame) with adjustable frame intervalTimer shutter release delay
:

0.43 s (manufacturer’s specification)
Program shift functionseparate
zoom and focus ringIris aperture
with 7 bladeselectronic
vignetting compensationRGBE colour filter-mosaic electronic

focusing aidadjustable
colour reproduction parameters (standard/real)
adjustable image parameters (sharpness/image contrast/colour saturation)

Size and weight

Weight 942 g (ready for operation)
Dimensions W x H x D 134 x 91 x 157 mm

Miscellaneous

standard accessory Hama 150 cm flash connection cableSony
NP-FM50 special battery pack
AC-L15A sun visorLens hooded cover(can be attached to the lens mount with the supplied strap)
Instructions and information materialEurope-wide
1-year guaranteeShoulder strap
(120 cm long, 3 cm wide) with non-slip supportCamera software
PIXELA Image Mixer 1.5

(with burn function) for Windows (98/2000/Me/XP) and for Macintosh (System 9.0 or higher)
Image Data Converter 1.0 for Windows (98/Me/2000/XP)
USB device driver SPVD-013.1 for Windows 98/98SE/2000/Me (no drivers required for Windows XP and MacOS 9.0 or higher)

Image

Transfer software Image Transfer for Windows (98/Me/2000/XP) and Macintosh (OS 9.1 or higher)

additional accessories Sony NP-FM50 Special Battery AC adapterRemovable memory

cardLeather

case

LCJ-FHBAAluminium case
LCH-FHBPadded
shoulder strap STP-SA

USB
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Peter Dench
I am Peter Dench. Digital Photographer, born in London 1972, currently living in Deerfield, near Chicago. I have numerous photography expositions and also working in model photography. In this website, PhotoPoint, I usually review cameras provided by local dealers in Illinois and by the manufacturers. Sometimes I, Peter Dench, review lenses too, but only when I have a suitable camera for them. Please let me know in the comments if I can improve any of these articles.