Photographic camera Preview – Hands-On Using the Sony A55


I first saw that Sony had created a tiny digital solitary lens camera. First glimpse had me thinking that the actual camera would be cramped to keep and that my fingers may accidentally activate buttons. Both these concerns proved to be misplaced, your body fit well into the hands, and the balance had been excellent. Overall the A55 with the kit 18-55 zoom lens mounted seemed very considerable and quite solid.

Before I dive into the distinctive features of this digital camera I wish to comment on a few of Sony’s better touches. The swiveling back LCD combination viewfinder or monitor is very razor-sharp and offers a decent view within moderate sunlight. The electric eye-level viewfinder may not be the same as the view through a one-on-one view prism, but it ended up being more than sufficient. I appreciated the eye level finder’s manufactured horizon display which allowed me to keep the camera level when handheld.

Powering up the photographic camera was almost instantaneous. The back LCD displayed relevant adjustments information as a border around the live image watch. The live image fuses from the rear LCD on the eye level finder when the camera’s sensors detect that you have increased the camera to your eyesight.

Operationally the A55 is a lot like any other single-lens camera. Buttons and switches tend to be marked with familiar symbols and labels; the all-pervasive four-way controller is underneath the right thumb, just as upon any other camera, and the control and mode dials are where I would expect to find all of them. In short, when the camera is about the eye, a photographer acquainted with a Nikon or Cannon camera won’t fumble greatly when seeking the handles.

And now let’s review the way the Sony A55 is very varied. So far, I have been referring to the actual A55 as a Digital Solitary Lens (DSL) camera, leaving behind off the “reflex” (R) section of the description applied to other classical models.

In a traditional digital camera there is a mirror that weighs down in the image way between the rear of the contact and the camera’s shutter along with image sensor. This reflect reflects the incoming photo up into the eye-level viewfinder and onto focus along with exposure sensors. Each time typically the shutter button is tripped, this mirror must show up out of the way so that the image can pass through to the photo sensor. After the shutter unwraps and closes, the reflection resets into the image way and the eye-level finder watch is restored. This reflexive up and down action gives people the “R” in DIGITAL CAMERA.

Sony’s A55 does without a doubt, have a mirror sitting in the path between the lens and the sensor. However this hand mirror doesn’t move up and to get out of the way when the shutter release is tripped. The hand mirror of the A55 is a one-half mirror so images of the two reflect up from it and also pass through it as well. Consider mirrored sunglasses or a 2-way mirror as an example. But exactly why did Sony think this was a better idea than a shifting reflex mirror?

Reflex showcases have a blackout moment every time the shutter button is tripped. For a split second, not merely is the photographer blind, yet so are the focus and subjection sensors. For still taking pictures captured at a brisk five to six frames per second this isn’t a huge challenge. However if the manufacturer wishes to offer a camera with about 10 frames per second, the Sacramento period would almost discuss the viewing period; consequently, focus and exposure are much less specific. Plus, there is a tremendous amount of damping required to reduce internal vibrations that would bring on blurred images – a component of what makes traditional cameras efficient at 10 FPS so high priced.

The biggest plus of a non-reflex mirror design is found in its mode. A traditional camera style and design requirements that the mirror possibly be up and out of the way to get video capture. With the mirror terrific focus and exposure, small are blind and the digicam must be manually focused or rely on not-so-good contrast-based autofocus. Since the Sony A55 mirror is always down, including play, the focus, and direct exposure sensors are always operational. Because of this, the Sony A55 can easily capture 1080p HD videos with fully automatic emphasis and exposure, something that no other DSL can do as well.

Functioning I found that the A55 inside movie mode does out there perform most other DSLR’s that will I’ve used. The video is not better quality (we’ll see that inside a moment), but the experience of recording it was by far effortless.

Used to have several concerns with all the Sony A55S. Many of our issues likely come from the short period I had with the camera; in addition, they would probably go away with considerably better familiarity:

The A55 delivers in-camera HDR still impression capture. The camera can take several fast exposures for a wide range of settings and then merge them into one with more significant tonal range. The results ended up good, about 40%, and the majority. I found that most often, the camera’s HDR results were too cartoon-like in color, putting out flowers, reds, and warm hues. Niggling detail – the moment set to HDR, the photographer has to manually turn it away even after power down in addition to restarting. Forgetting to do this may result in the camera taking the HDR image the next time it can be turned on.

The video colors were intense too. It may very own be that I like considerably more realistic contrast and coloring, but the A55 seems to start being active . “pop” to warm hues in the video just as the item did in HDR. My partner and I didn’t care for it although my wife liked the article so it is a matter of personal taste.

For a advanced shooter Sony’s hefty reliance on pictorial information of shooting modes in the menu system only sluggish things down. I believe that even someone new to using exposure modes will soon fatigue from the two-beat delay ahead of the pictorial screen moving on to the actual menu screen.

I use some pretty good video-enhancing software from Nero and also Adobe. However, the Sony video clip output couldn’t be exposed with either brand. The AVCHD video format taken by the A55 seems to demand a first pass through the incorporated Sony software before our video suites could control the movies.

Conclusion: The Fiat A55 is right on target for two forms of photography. First is the digital photographer moving up from a compact digital digicam that will appreciate the simple food selection system with pictorial help. The second group is the loved ones photographer who wants a highly trustworthy still camera with much more accessible than average video capture. The particular photographer who only requires video on a few situations and for a short duration will likely be interested in a Nikon or Rule model for their more comprehensive approach to accessories and lower obtain cost.

Stu Eddins is definitely blogger, instructor, and merchandiser and is particularly generally in charge of a lot of things to get Porter’s Digital Cameras and Visualize. Visit their site Years of practical experience over the counter and in classrooms include turning Stu into the evangelist for image ongoing availability, capturing and sharing recollections, and helping people recognize digital camera lenses and digital cameras.

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