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A photographer’s guide to buying a smartphone

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A photographer’s guide to buying a smartphone

For many of us, smartphones have arguably become just as much cameras as they communication devices. While some companies put more emphasis on photography features than others, there are dozens of options out there and a lot of jargon, making picking the right one a challenge.

In this guide, we’ll be explaining the key technologies of smartphone photography to help you make the right buying decision. Whether you’re new to the world of photography and want to start your artistic endeavors with your smartphone or you’re a full-time professional who wants the best photo-capable smartphone available as a backup to a conventional camera, we hope that you find this guide useful.

You’ll find a glossary of terms at the end of the article to help you better understand the sometimes confusing jargon.

Operating system

Before you even consider hardware, the first thing you’ll want to keep in mind is which operating system you want to use. As it stands, across most of the world there are two main operating systems: iOS and Android. The former is limited to Apple mobile devices while the later—and its many variants—are used on nearly every other device from a range of manufacturers.

While there are certainly arguments to be made and nuances to point out regarding the ‘pros’ and ‘cons’ of each operating system, the general consensus is that Android (and its many variations) is used by many smartphone manufacturers and is more flexible when it comes to customization, modifications and overall control. Apple’s iOS, on the other hand, is limited to iPhone devices and is more restrictive, but generally more refined in terms of consistency across devices and apps.

Camera modules

Ten years ago, smartphones generally only had two cameras in them: one front-facing for selfies and video calls, and another on the back for more traditional photo capture. Now, most flagship smartphones have between three and four individual camera modules within their array, and even mid-tier smartphones usually offer two or three.

There are exceptions, but three camera modules usually means you’ll find a super-wide angle (equivalent to between 10mm and 20mm lens on a full-frame camera), wide-angle (between 24mm and 35mm equiv.) and standard telephoto (between 50mm and 80mm equiv.), while a fourth module might be longer telephoto (80mm equiv. and maybe even longer).

The Vivo X60 Pro+ has a four-camera array, including an ultra-wide-angle camera, a wide-angle camera, a standard telephoto camera and a 5x periscope telephoto camera.

In conventional cameras, sensor size is a major determinator of image quality, and the same is true in smartphones. Sensor sizes can vary greatly from one device to the next, and in fact, you’ll often see different camera modules inside the same smartphone use different-sized sensors. Generally speaking, you can expect better image quality from larger image sensors, so if you’re hoping to get the absolute most from your device, try to seek out a smartphone with a larger image sensor on at least one of the camera modules. That said, computational technology plays a large role in ultimate image quality in many smartphones, so sensor size is isn’t everything.

The numbers you see inscribed next to the lenses on some smartphones sometimes reference the full-frame equivalent focal length of the lens. If a camera module has ’24mm’ or ’50mm’ imprinted next to it, you can expect the images from that module to have the same angle-of-view as a 24mm or 50mm lens, respectively, when attached to a full-frame camera system.

Generally, you can expect better image quality from larger sensors

You may also see an aperture number written next to the equivalent focal length of the lens. However, unlike the equivalent focal length number, phone makers – just like like the big name camera brands – tend to put the actual f-number rather than the full-frame equivalent. So, even if the device has ‘F1.4’ imprinted next to the camera, don’t expect to have the same shallow depth-of-field and bokeh (background blur) as an F1.4 lens on a full-frame camera system.

To find the equivalent f-number on a full-frame camera, you must multiply the stated f-number by the crop factor of the sensor behind the lens. For example, if the device manufacturer claims an F1.4 aperture on a lens in front of a 1/2.3” (6.17mm x 4.55mm) sensor, which has a crop factor of 5.64, you must multiply 1.4 by 5.64 to get the equivalent aperture on a full-frame sensor: 7.896 (F7.9).

If all this seems confusing, that’s because it is. When comparing smartphone cameras, it’s probably enough just to bear in mind that a lens with a smaller aperture number (i.e., F1.4) will bring in more light than one with a larger aperture number (i.e., F2.8) and generally speaking that’s a good thing. If you really want to dig into equivalent apertures, we recommend visiting MMCalc.com which is a great resource that can automatically calculate the equivalent focal length and f-numbers of a given sensor and lens combination.

Camera apps

Unlike traditional cameras, which have only one way of interacting with the sensor inside and lens attached, smartphones allow you to use different camera apps to get the most from the camera modules it has. You can expect all smartphones to have their own, proprietary camera app, but regardless of whether you’re using and Android or iOS phone, there is no shortage of third-party camera apps to fit your specific needs.

Something to keep in mind is that while some third-party apps can give better results than the camera app that comes with the phone, there are times where the built-in app offers more features and capabilities than third-party developers are able to offer. This is more of an issue with Android, where dozens of phone makers develop their own variants of the Android operating system and create too broad an array of hardware for third-party app makers to fully support. Furthermore, to our knowledge, there are no third-party apps that can offer HDR playback of HDR photos like Apple’s native camera / Photos apps, so if you want the best visual, highest dynamic range experience on your iPhone, you’ll want to stick to the native apps.

A home screen with just a few of the hundreds of third-party camera apps available on iOS.

As for what some of the more popular apps are, here are a few of the best third-party camera apps found in the Google Play Store (Android) and iOS App Store (iOS):

Optical vs digital (zoom and image stabilization)

Two areas where we’ve seen smartphone camera modules come more inline with their DSLR and mirrorless counterparts is in image stabilization and zoom functionality. While some manufacturers still use digital image stabilization and zoom, both of which mean you’re not getting the full-resolution of the sensor being used, more devices than ever are beginning to use optical stabilization and optical zoom in at least some of their lenses.

Digital zoom

When you see a smartphone manufacturer referring to ‘digital zoom,’ what they’re referring to is cropping in on the image and capturing only a fraction of the sensor’s data to create the final photo. When you pinch the screen to ‘zoom in’ you’re basically just telling the camera to record images from a smaller and smaller area of the sensor.

This isn’t inherently bad, but using a smaller portion of the sensor means you’ll be getting a noisier and lower resolution image. You’d get the same results if you took a picture while fully ‘zoomed out’ then cropped it afterwards.

There is one type of ‘digital zoom’ that can approach optical zoom, shifting either the sensor or the lens, or simply using the natural shifts caused by hand-shake, to capture inter-pixel detail. Google calls this ‘Super Res Zoom’. Results can be impressive, and many manufacturers today offer their own versions of this technology to improve picture quality as you zoom in.

Optical zoom

Optical zoom on smartphones is a tricky topic, with smartphone manufacturer marketing to be blamed for much of the confusion. Save for a few notable exceptions, most ‘optical zoom’ functions you see in smartphones nowadays work by simply switching to a different camera module with a longer focal length. While it is optical, it’s not really ‘zoom’ as most photographers would recognize it.

Markings on Vivo’s X60 Pro+ show a full-frame equiv. focal length range between 14-125mm. But rather than a single lens with that ‘zoom’ range, Vivo swaps between its four non-zoom camera modules.

Instead, when you see a smartphone manufacturer advertising 3x, 5x or even 10x optical zoom, what they’re likely referring to is the camera array contains a camera module with a focal length that’s 5x longer than the standard camera module on the device, which itself can vary from manufacturer to manufacturer. So, when you choose 3x or 5x ‘optical zoom’ in the camera app you’re using, what’s likely happening is the smartphone is switching from using its standard camera module to its telephoto module, which may not be as ‘telephoto’ as you’re expecting, since most standard camera modules in smartphones tend to be wide-angle.

An illustration from Huawei showing the 10x periscope ‘zoom’ lens found inside its P30 Pro smartphone.

One more type of zoom to be aware of is ‘field-of-view fusion’ zoom, present in, for example, Huawei’s P30 Pro. This technology uses both a wider angle and telephoto module to synthesize an image for any field-of-view in between the wide angle and telephoto focal lengths. For example, the P30 Pro has a 3x and 5x module; a 4x shot uses the 5x module for the center portion of the 4x image, and the 3x module for peripheral portions of that 4x image. The end result is better image quality for these intermediate zoom ratios compared to simply digitally zooming the image from the wider module.

This can all get complicated pretty fast, but the nice thing is all this happens behind the scenes so you can just focus on picture-taking. So long as you understand what the specifications and capabilities are of the phone you’re planning to purchase, you should be able to make a wise purchase decision, and make the most of whatever zoom capabilities it has, be they optical, digital or hybrid.

Digital stabilization

Digital stabilization in smartphones is usually achieved by using the data from the built-in gyro sensor to track movement while taking a photo or video and applying that data to the final image to compensate for any blur or jitters from shaking. This technology has improved over the years yielding gimbal-like video footage, but in the end, every version of it requires some of the pixels, usually around the edges of the frame, to be sacrificed in order to get a more steady shot.

Certain devices get around this by recording a slightly higher resolution than is needed, knowing, for example, that recording 4.2K resolution video will result in proper 4K video once digital image stabilization is applied, but that isn’t always the case.

Optical stabilization

As is the case with conventional digital cameras, smartphone cameras can come with one of two flavors of optical image stabilization: lens-based or sensor-shift. Over the years, both technologies have been improved dramatically, to the point where newer smartphones offer stabilization performance similar to some of the best traditional camera bodies and lenses on the market.

Lens-based optical stabilization in smartphones works similarly to that in traditional optically stabilized lenses for DSLR and mirrorless cameras. Either the entire lens or a subset of elements inside the lens are mounted on a magnetic stabilization system that keeps the image steady, even when the phone itself might be moving. Due to space restrictions in smartphones, usually the entire optical assembly is stabilized (just as the entire unit, as opposed to individual elements, is moved for focus).

Below is a visualization showing the lens-based optical image stabilization found in a camera module on the Apple iPhone 7:

Sensor-shift image stabilization, on the other hand, mounts the sensor itself to a stabilization system, while the lens in front of the sensor doesn’t move. This has the same general effect of lens-based optical stabilization system, but offers a few other benefits. Specifically, sensor-shift image stabilization can correct for roll/rotation—something lens-based image stabilization can’t do and something that can offer significant stability with video in particular.

Sensor-shift image stabilization also has the benefit of being able to double as a means of capturing high-resolution photographs using pixel-shift technology. This method of supersampling will shift the sensor over by a predetermined amount of pixels or sub-pixels (to capture inter-pixel detail) over the course of multiple frames to capture enough data to create a supersampled photograph with a higher resolution – and lower noise – than the sensor itself is capable of capturing in a single frame.

Above is a visualization of the sensor-shift image stabilization found on Apple’s iPhone 12 Pro smartphones:

Raw capture

By default, all smartphones and most conventional cameras capture either JPEG or HEIC/HEIF files, which are processed and saved in-camera ready for sharing and printing. ‘Raw’ image files are exactly what they sound like – they’re not ‘cooked’. To get the most out of a Raw file you need to process it manually, either in an app, or in a desktop application like Adobe Photoshop or Lightroom. Traditionally, the benefits of doing this are that you get a lot more control over your final image (you make the decisions about contrast and saturation etc., rather than leaving it to the camera), at the expense of a more time-consuming and complex workflow.

Some smartphones offer the option to capture photographs in Raw mode, and of those that do, nearly all use the Digital Negative (DNG) file format. Some smartphone manufacturers, such as Apple with its ProRAW format, have built upon the DNG file format with their own, but the specific advantages these DNG derivatives offer are usually limited to specific applications that have the proprietary support built-in.

Below is a gallery of images captured with the Vivo X60 Pro+ smartphone. The gallery provides the straight out of camera JPEGs captured alongside the Raw (DNG) files, which you can download on a desktop or laptop to see the difference:

If you’re interested in capturing Raw images on mobile devices, be aware that the output might not end up looking as good as the straight-out-of-camera JPEG/HEIC, even with proper editing. Due to the relatively small sensor size of camera modules found in smartphones, the benefits of Raw aren’t nearly as substantial for mobile devices as they are for dedicated DSLR or mirrorless cameras.

This is because many of the straight-out-of-camera images you see from modern devices combine data from multiple frames (or even multiple camera modules) to create a near-seamless composite that results in more dynamic range, lower noise and sharper images than is possible with a single exposure – even those captured in Raw mode.

An exception to this rule is Google’s Pixel line of phones, which output Raw DNGs that, like its JPEGs, are a result of its multi-shot capture mode, post alignment, stacking and averaging of many frames. Ideally, this is the type of Raw all smartphones would output; that is, all the computational smarts the JPEG/HEIC output benefit from, but without all the white balance, tone mapping, sharpening and noise reduction operations so as to allow for maximum flexibility in post-processing.

Techniques such as image-stacking, when combined with powerful AI-trained processing methods, can yield images that are similar in quality to dedicated camera systems, so it’s worth doing a bit of research to make sure you get the very best of what’s available, especially considering the processing power and capture modes in smartphones is changing with each new generation.

So, which smartphone is right for you?

Ultimately, it depends on what you plan on shooting the most with your smartphone. Below are just a few use-cases that should help you determine which features are most important when choosing a smartphone.

Portraiture

Whether it’s friends or family, if you’re planning on taking a lot of portraits, you’ll want to find a phone that has a solid portrait mode. Since most smartphones can’t replicate the same shallow depth of field as traditional camera systems, many manufacturers have developed dedicated ‘Portrait’ modes that can separate the subject(s) from the background and apply a blur to emulate the look of a fast lens with a large maximum aperture.

Different manufacturers have different means of doing this, so take into account whether the phone is separating the subject from the background using a hardware approach (a second camera module, Dual Pixel sensor, LiDAR or a dedicated depth sensor) or software-based approach only (known as ‘segmentation’, which uses machine learning to identify, mask and separate human faces and bodies from backgrounds and foregrounds).

Generally speaking, the former will provide better separation between the subject and background as well as more accurate and gradual transitions between in- and out-of-focus areas, as a reference depth map is calculated. However, these days most phones use a combination of hardware and software techniques to achieve pretty convincing results. The best ones can emulate the depth-of-field and degree of blur of a full-frame lens of the same stated F-number, even down to the character of the bokeh.

Sports photography

Any kind of sports photography with a smartphone is a bit of a challenge, if only because of the likely distance between you and the action. But, if you insist on getting the most from your device, you’re going to want to make sure it has a quality burst capture mode, which will allow you to capture dozens of frames at once and sort through each of them to find the one that best captures the moment. And as sensor sizes get larger and depth-of-field gets shallower, you’ll want one that can track and focus on your subject quickly at those high capture rates as well.

Macro photography

It should go without saying that if you want a phone that can capture solid macro images, you’re going to want to find a device that has a built-in macro lens. These can be a bit challenging to find, as they’re more niche since they require a dedicated camera module, but they do exist.

Although it will affect image quality, another option is to buy an add-on macro lens, which can replicate the effect of a dedicated macro lens through additional optical elements.

Street / documentary photography

To quote Chase Jarvis, “the best camera is the one you have with you”. And the best smartphone for street and documentary photography is one that’s accessible and ready to quickly grab a shot.

For some, that might mean a smartphone with only one camera module and a few shooting modes to ensure as little effort is needed to compose and capture the image. For others, that might mean having a slew of camera modules with different focal lengths to ensure you can capture subjects near and far away without having to move around too much.

Whatever the case is, you’ll want to take into account your entire mobile photography workflow and ensure the operating system, device and camera modes you choose are ones that will require as little input and friction as possible so you can capture that decisive moment. It’s worth noting that most phones these days have a swift, one-touch method to access the main camera for fast access.

Landscape / travel

If scenery and cityscapes are more your cup of tea, you’ll probably want to focus on a smartphone with high-resolution capture modes and one that has at least two or three camera modules with different focal lengths. Not only will having multiple focal lengths to choose from ensure you can get promising photos while far away from your subject, it will also allow you to compress your scene more for those shots when you want to tighten your composition up a bit without sacrificing resolution.

While not all smartphones come with a high-resolution photo mode built in, newer flagship devices are starting to gain this ability. This extra resolution should help if you plan to make larger prints.

Video / cinema

If you prefer videos over stills, you’ll want to find a camera that not only has quality video capture modes (4K video at 30 fps should be the minimum you’re looking for), but also has a solid image stabilization system onboard. Even more so than with stills, image stabilization in video is important for keeping your footage looking smooth and professional.

As we mentioned earlier, sensor-based image stabilization should yield better performance compared to lens-based image stabilization, due to its ability to correct for roll/tilt. However, this component is less important if you plan on using your smartphone with a mobile gimbal, which should be able to make up for any stabilization deficiencies on the smartphone itself.

Equally as importantly, you’ll want to consider the performance of the phone’s digital image stabilization, which has become so good in some models that it might replace the need for a gimbal altogether. However, the quality of the resultant footage can vary from model to model.

Also, while many phones have offered some form of high dynamic range video capture for some time now, some newer flagship devices are coming with high-dynamic-range output modes (HDR10, HDR10+, HLG, and even Dolby Vision). These output modes add flexibility when grading in post-production, giving you more flexibility and creative control over the final product. Perhaps more importantly, they allow you to take advantage of the high dynamic range of the latest (typically OLED) screens on these devices, which, with their very high peak brightness levels and deep blacks, can ‘stretch’ out your HDR capture over a wider display range so that it doesn’t look flat.

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Ulanzi’s 52mm MagFilter Magnetic Filters offers interchangeable filters for smartphones

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Ulanzi’s 52mm MagFilter Magnetic Filters offers interchangeable filters for smartphones


Image: Ulanzi

Lens filters for smartphones are not a new concept. Designed to give photographers more creative and technical control over their images, there are several types on the market today that can control how much light comes into the camera, reduce reflections and flare or add more vibrancy to your images with different color tones.

Up until a few years ago, photographers wanting to add a physical filter to a smartphone would need to attach a clamped filter that sits at the top of the phone’s camera lenses or use a third-party smartphone lens with filters.

Although useful, clamps tend to be bulky and aren’t always the easiest to align with your camera. Third party lenses offer more accuracy, but good-quality options can cost in excess of $100, without the inclusion of filters.

Ulanzi aims to be different by offering a lightweight foldable adapter ring that snaps on to the center of your MagSafe compatible device or case, which the manufacture says leads to a quicker workflow and more accurate alignment of the filter to the camera lens on the back of the phone. On an iPhone 14 or 15 it works by magnetically attaching to the rear using Apple’s MagSafe attachment system.

For users without an iPhone, there are workarounds through the use of third-party smartphone cases with magnetic ring plates that emulating MagSafe. WIth such a case, you can attach Ulanzi’s adapter to the ring plate and use the filters as normal.

As we reported last week, the concept isn’t new. Tiffen recently released a similar product with its MagSafe 58mm Filter Mount. Both products approach a solution to adding filters in a similar manner but differ in design. The Ulanzi opts for compactness with a foldable design.

The Tiffen comes with one polarizing filter (you can buy other filters separately) at around $40. In contrast, the Ulanzi’s version comes as a kit for $219 with an ND filter, a polarizing filter, one soft focus filter and a selection of color effect filters. There’s a storage case as well. Having multiple filters packed in may be enticing to users seeking to experiment with different filters and want the simplicity of having them all packaged together.


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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount

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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount


Image: Tamron

Tamron has announced it will release its popular 28-75mm F2.8 Di III VXD G2 fast standard zoom for Nikon’s Z-mount.

Nikon already sells a 28-75mm F2.8 with an optical formula and calculated MTF charts that are a match for Tamron’s original, stepper-motor driven 28-75mm F2.8 Di III RXD. The newer, linear-motor-driven G2 model features improved optical performance.


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The G2 uses a more complex 17 element / 15 group design and has a fractionally shorter minimum focus distance (18cm/7.1″ vs 19cm/7.5″) to deliver very slightly increased maximum magnification. The G2 is also a fraction lighter than the Nikon-branded 28-75mm, weighing 550g (19.4oz), rather than 565g (19.9oz). On the E-mount versions, Tamron claimed the VXD linear motor design was twice as fast as the RXD version.

The focal length range makes the 28-75mm a wide to short-telephoto lens for Nikon’s full-frame Z-mount cameras but could, in principle, be used as a 42-113mm equivalent on DX APS-C bodies, if you wished.

Click here to see the Tamron 28-75mm F2.8 G2 gallery shot on Sony E-mount

The announcement adds a more affordable option for Nikon’s Z-mount users, but the hope has to be that, letting Tamron compete against its own-brand lenses, might also indicate some relaxation of Nikon’s restrictions around the mount. As the footnotes make clear, this lens is “developed, manufactured and sold under the license agreement with Nikon Corporation.”

The Tamron 28-75mm F2.8 Di III VXD will be available from April 18th at an MSRP of $999. This is $100 more than the E-mount version and a match for the current price of the Nikkor Z 28-75mm F2.8. It’s $200 below Nikon’s launch price for the Nikkor version.

TAMRON announces the launch of fast-aperture standard zoom lens for “Nikon Z mount system”

28-75mm F/2.8 Di III VXD G2 (Model A063) for Nikon Z mount

March 27, 2024, 11pm ET / 8PM PT, Commack, NY – Tamron announces the launch of the 28-75mm F/2.8 Di III VXD G2 (Model A063), a fast-aperture standard zoom lens, for Nikon Z mount full-frame mirrorless cameras1. The lens will be available April 18, 2024, at $999 USD / $1399 CAD.

The 28-75mm F2.8 G2 is compact and easy to use yet has excellent optical performance and is compatible with the latest digital cameras with increasingly high pixel resolution. The AF drive uses a linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) that is fast, highly accurate and quiet. The lens also excels at close-up shooting, achieving an MOD (Minimum Object Distance) of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7. Additionally, the lens design takes operability into consideration by including a coating with excellent scratch resistance on the barrel of the lens and a rubber focusing ring for a comfortable, secure grip among other features.

TAMRON pioneered the category of compact fast-aperture standard zoom lenses for mirrorless models. Now the 28-75mm F2.8 G2 will be available for Nikon Z mount as the ideal everyday lens for Nikon full-frame mirrorless camera users.

Product highlights

1. Best image quality in the standard zoom lens class

The new zoom leverages the latest design expertise and comprises an optical construction with 17 elements in 15 groups. Two optimally arranged LD (Low Dispersion) and GM (Glass Molded Aspherical) lens elements control optical aberrations to the highest degree. The lens provides high-resolution performance from edge-to-edge and corner-to-corner over the entire zoom range, even at wide open aperture. In addition, the soft, beautiful, round bokeh that can be achieved with a fast-aperture lens adds a distinctive dimension, especially to portraits. The overall compact size and high performance can be used advantageously with top-class, ultra-high-resolution mirrorless cameras.

2. Fast, quiet VXD linear motor for high-speed and high precision autofocus

The AF drive system employs TAMRON’s VXD linear motor focus mechanism. The high-speed, high-precision AF is exceedingly responsive and provides dependable and accurate focusing performance from MOD to infinity, despite the fast F2.8 aperture. The lens delivers excellent focus tracking of moving objects, so you are always ready for fast action. Additionally, the focus motor is quiet, so it’s ideal for shooting both still images and video in situations that demand low noise.

3. Lightweight and compact

The 28-75mm F2.8 G2 is a fast-aperture standard zoom lens with a remarkably compact and lightweight design, just 4.7” (119.8mm) long. The maximum diameter is 75.8mm and it weighs only 19.4 oz. (550g). Filter size is 67mm. With a size that’s easy to carry and a light weight that’s well-suited for handheld shooting for extended periods, the 28-75mm F2.8 G2 will surely become your favorite zoom for travel, street shooting, everyday carry, and spontaneous photo opportunities.

4. MOD of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7 for creative close-ups

The 28-75mm F2.8 G2 features an MOD of 7.1” (0.18m) at the wide end. The working distance shrinks to around 1.7” (4.4cm) when used at MOD. Because the maximum magnification ratio is 1:2.7, you can get close to your subject for wide macro photography, enabling powerful visual impact with the subject positioned large in the frame while keeping a wide view of the background.

5. TAMRON Lens Utility™ expands the possibilities of still photography and video shooting

The 28-75mm F2.8 G2 is compatible with the dedicated TAMRON Lens Utility software developed in-house by TAMRON that empowers users to easily update the lens to the latest firmware without going through the camera2 and includes functions to support focusing operations and other actions when shooting still images or video. By utilizing a wide range of functions3, users can expand the breadth of expression in still images and video. For example, A-B Focus allows users to limit focusing to two pre-selected focus points, shifting focus from one subject to the other with just a click of the Focus Set Button. Users can also choose between Linear and Non-Linear, which affects how the focus shifts during manual focusing.

6. Enhanced overall lens design for user-friendly operation

Every individual part of the lens has been carefully scrutinized, right down to the fine details, resulting in an enhanced design that optimizes both operability and ergonomics. The surface of the lens exterior is glossy black. Improved abrasion resistance makes the lens barrel harder to scratch and resists fingerprints. Additionally, the grip performance has been improved. The smoothly curved, elegant surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality.

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

1. The lens for Sony E-mount previously launched on October 28, 2021.

2. To connect your PC and lens, use the TAMRON Connection Cable (USB Type-A to Type-C/ Model CC-150, or USB Type-C to Type-C/ Model CC-350) sold separately. To connect your smartphone and lens, use the TAMRON Connection Cable (USB Type-C to Type-C/ Model CC-350) sold separately. Lens firmware updates are not supported with the Mobile version. Performing firmware updates requires the TAMRON Lens Utility for PC and a computer.

3. The ring function (Focus/Aperture) is not supported for Nikon Z mount.

Tamron 28-75mm F2.8 Di III VXD G2 specifications

(Length and weight refer to E-mount version)



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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV

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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV


Photo: Dan Bracaglia

Sony has announced major firmware updates for four of its current full-frame range, bringing many features and behaviors up to its latest standards and adding C2PA authenticity verification capabilities.

Sony a1 f/w v2.00

Firmware v2.00 for the Sony a1 is perhaps the most extensive, adding features that have appeared in other models in the three-and-a-bit years since it was launched, such as the lens breathing compensation function. It also adds a handful of new features and modifications of behavior, including an option to ensure the EVF remains on, regardless of the LCD position, and relay playback of images across multiple media. Among the extensive list of additions an updates are features such as Timecode Sync, previously only available in Sony’s Cinema Line cameras.

A series of FTP options, including SFTP support are also added.

The firmware doesn’t activate the C2PA function – which not only authenticates the camera and date/time but also that the photo is of a 3D subject, not a photo of a photo – but instead adds the capability to the camera. Once installed, users need to activate a separate license via the Creators’ App to use the function.

Sony a7S III f/w v3.00

Firmware v3.00 brings many of the updates seen in the a1, including Timecode Sync, breathing compensation and relay playback. It also adds the ability to close the mechanical shutter when the camera is turned off, to mitigate dust ingress, and the ability to transfer Raw files to smartphones.

In addition to the C2PA capability, firmware v3.00 includes the ability to add DCI 4K 24p shooting. Again a license needs to be downloaded to a camera running the new firmware to actually activate the function.

Sony a7 IV f/w v3.00

As one of the most recently updated cameras on this list, the a7 IV gains fewer features than the other cameras here. But in addition to C2PA capability, it adds network streaming, direct cloud upload support and an expansion of the features accessible via software development kit (SDK).

Sony a9 III f/w v2.00 [Expected April 9th]

As the newest of the cameras here, the a9 III receives fewer additions and updates than the a1 and a7S III, as in many instances they are gaining the features that the latest a9 introduced. However, in addition to details such as outputting lens names in video file metadata, the a9 III gains the promised ability to use the camera’s full shutter speed range when continuous shooting. But beyond this, the a9 III gains a small array of feature expansions and refinements being added across the four cameras, including the ability to extract stills from video capture, to take advantage of its lack of rolling shutter.

{PressRelease}

Sony Electronics Delivers Firmware Updates including C2PA Compliancy as a Next Step to Ensure Authenticity of Images

SAN DIEGO, March 27, 2024 – Today, Sony Electronics delivers the highly anticipated firmware updates for the Alpha 1 (Ver. 2.00), Alpha 7S III (Ver. 3.00), Alpha 7 IV (Ver. 3.00), and after April 2024, the Alpha 9 III (Ver.2.00). The update contains some of Sony’s most impactful technology, including Camera Authenticity Solution, the proprietary in-camera digital signature and C2PA (Coalition for Content Provenance and Authenticity) format support1. Together, these tools will make it possible for news agencies to ensure the authenticity of images, contributing to industry efforts to protect creators, and society from fake imagery.

Additionally, the firmware updates include many requested features to improve everyday use. The update evolves shooting functions and post-shooting workflow and brings advanced movie features like breathing compensation. It also includes new remote-control capabilities, new features for professional applications, and expanded access to cloud services applications.

“There is nothing more core to our mission than listening to the voices of the photographers, videographers, and filmmakers who shoot with Sony Alpha cameras. We know this community has been asking for these updates, and we’re happy to deliver. Each of these updates are designed to promote ease of use for our creators and allow them to maximize the strengths of their cameras,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We’re especially pleased to deliver C2PA compliancy with this update. This compliancy paired with our unique digital signature technology, allows us to offer the most secure and comprehensive solution to protect professional photographers, news agencies, and society from manipulated imagery.”

Camera Authenticity Solution

Last year, Sony announced its commitment to developing technology in its cameras to aid in the fight against manipulated imagery and AI-generated fakes. The severity of this issue is only increasing and it’s a complex problem that requires the focus and attention of our entire industry.

One critical part of the solution is making more Sony cameras C2PA compliant. C2PA is a Joint Development Foundation project, where Sony is a steering committee member. C2PA aims to develop an end-to-end open technical standard to provide publishers, creators and consumers with opt-in, flexible ways to understand the authenticity, and provenance of different types of media. The C2PA is a standards-setting body that will develop technical specifications on content provenance and authentication by certifying the source and history of media content. With this firmware update, the authenticity information embedded on images from Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV can be maintained from capture through publication. This provides professional photographers with the ability to preserve their digital signature from the camera, while tracking the editing history throughout revisions.

Another critical component of the solution is Sony’s in-camera digital signature technology2 that signs images in real-time. This new feature certifies the authenticity of an image at the point of capture and creates a ‘digital birth certificate’ that is retained throughout revisions. The signature contains metadata including 3D-depth information captured through the proprietary technology in the image sensor developed by Sony. This depth information can show if the image captured was of an actual 3D object, vs a photograph of an image or video, providing an extra level of protection and even more assurance of the content’s authenticity, and making Sony’s solution especially unique for photojournalists and news agencies.

Sony’s solution also helps protect the authenticity of content by including an Image Validation Site, which verifies the image even after edits have been made by C2PA-compliant editing software. This service confirms the authenticity of the photo was taken by a specific camera and that the object of the photo is 3D. This service will initially be offered to select news media agencies, expanding to other agencies at a later date.

Sony’s Camera Authenticity Solution overview diagram
Example image of 3D Image verification

Shooting and Playback Updates

The firmware updates include over 10 new features, as well as improvements to existing features, designed to improve the user’s overall shooting experience. These improved capabilities showcase Sony’s commitment to continuing to evolve the functionality of Sony’s existing camera models. A few highlights of the firmware update functions include:

  • Relay Playback: Enables seamless sequential playback from one memory card slot to another on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Playback Filter Condition: Lets users categorize image playback based on select criteria including date, folder, file format, and more on the Alpha 1 and Alpha 7S III
  • Breathing Compensation: The highly requested Breathing Compensation function3 is now available on the Alpha 1 and Alpha 7S III.
  • Upgrade DCI 4K / 24.00p Upgrade License on Alpha 7S III: via a free downloadable license through Creators’ Cloud4.
  • Sync Release function: Enables simultaneous shutter release with two or more multiple cameras connected to the main camera5 on the Alpha 1 and Alpha 9 III.
  • Focus frame display: Focus frame will be displayed on the Remote Camera Tool screeniii on the Alpha 1 and Alpha 9 III.
  • Enhanced image stabilization: The camera body and lens effectively work together to correct larger blurs6 on the Alpha 1.
  • Increased upper limit of recordable images in a folder from 4,000 to 9,999 on the Alpha 1, Alpha 7S III, A7 IV, and Alpha 9 III.
  • Matching the time code with other devices is now possible with a dedicated adapter cable (sold separately)7 on the Alpha 1 and Alpha 7S III.
  • Up to 20 IPTC presets can be on the Alpha 1 and Alpha 7S III.
  • Custom Grid Line is available as a paid license basis for some models8.

File Transfer and Network Connectivity

Additional updates aimed to optimize the post-production workflow efficiency include improvements to International Press Telecommunications Council (IPTC) preset and File Transfer Protocol (FTP) transfer operability. To streamline processes for users, expanded cloud upload and application services will be available. Key updates include:

  • Cloud upload (camera direct) function allows users to upload images directly to the Sony’s Creators’ Cloud9. Key additional features include simplified camera software updates, direct camera registration to the Creators’ Cloud, and a flexible system for uploading, storing, and sharing content. Additionally, the capability to manage video and LUT files via mobile apps, along with the transfer of RAW files to smartphones, optimizes the creative process in fast-paced environments.
  • FTP Transfer Improvements: A “Protected Images Only” option for the Auto FTP Transfer and a “Protect Image in FTP Transfer” option for the FTP transfer function have been added. Available on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Support for USB streaming10 on the Alpha 1.
  • Secure File Transfer Protocol (SFTP) has been added to secure protocol on the Alpha 1, Alpha 7S III, and Alpha 9 III and WPA3-SAE is now supported for wireless LAN on the Alpha 1 and Alpha 7S III.
  • Network streaming enables direct live streaming from the Alpha 7 IV to a streaming sitevii.
  • Expansion of app support with Creators’ App and Monitor & Control app now supported with the Alpha 1 and Alpha 7S III.

Many of these updates are applicable to multiple cameras, however for a list of each body’s specific update please check the Sony website.

Exclusive stories and exciting new content shot with Sony’s imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α – Alpha brand.

1. This feature is available to some news organizations at the press release timing.
2. Both Sony’s in-camera digital signature technology and C2PA compliancy are currently available through a separate upgrade license.
3. For compatible lens information, please refer to the support page (https://www.sony.net/dics/breathing/)
4. For regional app/service availability, check here. To use this service, it is necessary to download and install the upgrade license.
5. Remote Camera Tool Version 4.1.0 is required to activate the function.
6. For compatible lens information, please refer to the support page (https://www.sony.net/dics/func1002/)
7. A dedicated adapter cable, which is sold separately, is required to connect to the timecode source equipment.
8. Availability varies depending on country and region. Available through the Upgrade and License Management Suite at https://ulms.sony.net.
9. For regional app/service availability, check here. Creators’ App Ver.2.3.1 or later is necessary. Settings must be made in the Creators’ App in advance. For more information, please visit the Creators’ App support website (https://www.sony.net/ca/help/opr/)

10. When connecting to a device with a USB Type-C port, please use a commercially available USB cable or a conversion adapter.

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