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Field review: Panasonic S 70-300mm F4.5-5.6 Macro OIS

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Field review: Panasonic S 70-300mm F4.5-5.6 Macro OIS

Introduction

The Panasonic Lumix S 70-300mm F4.5-5.6 Macro O.I.S. is a moderately sized, moderately far-reaching and optically stabilized telephoto zoom lens for full-frame or APS-C L-mount cameras.

Aimed at wildlife, sports, aircraft and vehicle photography as well as portraiture, it helps you tightly frame more distant subjects when you can’t get up close on foot. It also offers impressive close-focusing capabilities, and so can serve double-duty for light macro use.

Available from April 2021, it carries list price of $1249.


Key specifications:

  • Focal length: 70-300mm (105-450mm with Leica T/TL/CL bodies or APS-C crop)
  • Aperture range: F4.5 wide / F5.6 tele – F22
  • Stabilization: Yes, Panasonic Optical Image Stabilizer
  • Filter thread: 77mm
  • Close focus: 0.54m (21.3″) wide / 0.74m (29.1″) tele
  • Maximum magnification: 0.5x (tele)
  • Diaphragm blades: 11
  • Hood: Included
  • Weight: 790g (1.74 lb)
  • Optical construction: 17 elements in 11 groups (2 ED, 1 UED, 1 UHR)
ISO 640 | 1/1250 sec | F5.6 | 300mm | Panasonic S1R
Photo by Dale Baskin

70-300mm F4.5-5.6 lenses are fairly commonplace in the SLR world, but this is nevertheless only the second such lens to be specifically designed for use with a full-frame mirrorless camera. (The first being Sony’s FE 70-300mm F4.5-5.6 G for the competing Sony E-mount, and Fujifilm has recently released a 70-300mm F4.5-5.6 R for its X-mount APS-C cameras.)

As such, there are no direct rivals for L-mount cameras from Panasonic or either of its L-mount Alliance partners, Leica and Sigma. The nearest L-mount equivalents would be the significantly brighter, bulkier and far more expensive Leica APO-Vario-Elmarit-SL 90-280 mm F2.8–4 or the moderately larger, heavier and more telephoto Sigma 100-400mm F5-6.3 DG DN OS.

Wildlife and sports shooters in particular may find the Sigma to be a more attractive option, however. Not only will it bring more distant subjects even closer, it also carries a list price that’s about $300 less than the Panasonic. The tradeoff is that it’s a little less bright, and so may push you to higher sensitivities or longer shutter speeds.

ISO 640 | 1/80 sec | F14 | 219mm | Panasonic S1R
Photo by Dale Baskin

Handling

The Panasonic S 70-300mm F4.5-5.6 is just a little larger than we’d expect of a full-frame lens with its focal length and aperture ranges, but nevertheless also a bit lighter.

Its barrel diameter is identical to that of the Sony FE 70-300MM we mentioned previously, and 5mm (0.2in) smaller in diameter than the EF 70-300mm f/4-5.6L IS USM for Canon EF-mount DSLRs. It’s a bit longer than both, though. The Canon is about 5mm (0.2in) shorter, and the Sony is about 4.5mm shorter.

Barrel diameter and weight are about what we’d expect for a lens of this type, but the length at 70mm is a bit longer than is typical for a 70-300mm zoom of this kind. The lens extends when zoomed.

Restricting ourselves just to the less-direct alternatives on the L-mount, however, it’s a good bit smaller than the Sigma 100-400mm F5-6.3 DG DN OS, which is a full 49.2mm (2.0 in) longer. The aforementioned Leica 90-280mm, meanwhile, is the biggest of the bunch, at a full 3.5 inches longer.

At the same time, it’s also a little less hefty than its nearest competitors. It’s 64g (2.3 oz) lighter than Sony’s E-mount equivalent and a worthwhile 260g (0.6 lb) less than Canon’s EF-mount lens, which both carry broadly similar list pricing and target customers. It’s also a full 370g (13.1 oz) lighter than the L-mount Sigma, and weighs less than half as much as the high-end Leica, which is a whopping 920g (2.0 lb) heavier.

Although its outer barrel is predominantly constructed from polycarbonate, the lens nevertheless has a very rugged build and a nice, high-quality feel. It’s certainly a notch above the quality of typical 70-300mm zooms around the $500-600 mark, but doesn’t approach the build of higher-end optics like Canon L-series or Sony G Master lenses.

Balance is very good with larger bodies like the Panasonic S1R that we used for gallery shooting around our Seattle HQ, but is still pleasant with smaller bodies like the Panasonic S5 used by the DPReview TV team in Calgary, Alberta.

We found good balance on smaller bodies like the S5, and great with larger ones like this S1R.

Both the zoom and focus rings are pretty light and not significantly dampened. The focus ring has the softer feel of the pair, while the zoom ring has a bit more tension. On the side of the barrel there are four switches, providing for (top to bottom) focus range limiter, focus mode, optical image stabilizer and zoom lock controls.

Since you’ll probably need the focus mode control more frequently than the rest, there’s a small bump next to it that provides a great tactile reference, helping ensure your fingertip has found the correct switch without removing your eye from the viewfinder.

A lens hood is included in the product bundle.

As for the optical image stabilization system, for which Panasonic claims a 5.5-stop corrective effect, we found it to be quite effective, helping both to combat blur from camera shake at lower shutter speeds, and also to stabilize the electronic viewfinder view for a smooth, steady preview. Both are important given the fairly powerful maximum telephoto on offer.

The 77mm filter thread is larger than average, which will cost a bit more when buying filters.

Up front, there’s a larger-than-typical 77mm filter thread, and the Panasonic 70-300mm is also comprehensively weather-sealed, with a total of seven seals providing for both dust and splash resistance. It’s also freeze resistant to -14°F (-10°C), as our heavily snowbound and deep-frozen Canadian team can attest.

Compared to…

Panasonic S 70-300mm F4.5-5.6 Macro OIS Sigma 100-400mm F5-6.3 DG DN OS | C
Price (MSRP) $1249 $949
Optical construction 17 elements, 11 groups 22 elements, 16 groups
Aperture blades 11 9
Stabilized / mfr rating Yes (5.5 stops) Yes (4 stops)
Weather sealed Yes Yes, mount-gasket only
Minimum focus distance / max magnification 0.54 m (1.77) / 0.50x 1.60 m (5.25) / 0.24x
Diameter x Length
(no hood)
84mm x 148mm (3.31″ x 5.83″) 86mm x 197.2mm (3.38″ x 7.76″)
Filter size 77mm 67mm
Weight 790g (1.75lb) 1160g (2.56lb)

Autofocus and focus breathing

Autofocus is provided by a very fast linear-drive AF motor which is both silent and very swift. With a full-rack AF time of about two seconds, or just 1.1 seconds with the focus range limiter active and significantly faster for the smaller adjustments typical of real-world use, it’s definitely up to the tasks of wildlife or sports shooting.

ISO 100 | 1/3200 sec | F4.8 | 87mm | Panasonic S5
Photo by Chris Niccolls

The focus limiter is a pretty standard option on a telephoto zoom like this, and one that’s definitely worth having, especially because of this lens’ insanely close minimum focusing distance. It locks the focus range to a minimum of 3m (9.8 ft) when active.

That close focusing, incidentally, gives this lens a pretty decent macro ability, for a telephoto zoom. You can get physically closest to your subject at wide-angle, with a minimum focusing distance of 0.54m (1.77 ft). For the highest magnification ratio, though, switch to telephoto instead. Here, a minimum focusing distance of 0.74m (2.43 ft) is enough to garner a 1:2 (0.5x) maximum magnification.

You can get pretty close at wide-angle (left), but moving just 20cm further from your subject and switching to telephoto (right) will get you an even better 1:2 macro. Both images at ISO 100 with Panasonic S5.

Video shooters will be pleased to hear that as well as autofocus drive being essentially silent, focus breathing is minimal, with just a slight hint at 70mm that largely goes away as you zoom in towards the 300mm telephoto. Our only mild disappointment on the video front is that the lens uses a focus mode switch on the side of the barrel, rather than a push/pull focus clutch found on some Panasonic lenses.


Image quality

Image quality for the Panasonic 70-300mm F4.5-5.6 is generally very good; bokeh is pleasing, there’s good resistance to distortion and flare, and aberrations are as well-controlled as we’d expect on a lens of this type. We did find some copy variation in terms of sharpness, however. While both copies we tested had great sharpness at wide-angle, one of the two was noticeably better at the telephoto end of the zoom range. Sample variation in telezooms is extremely common (potentially more so in early production runs), but it’s something to look out for.

Sharpness

At wide angle, the 70-300mm is quite sharp even when shooting at F5.6, and the plane of focus is pretty flat. Stopping down to F8 does improve detail just a little, but you’ll only notice that difference at large print sizes or when viewing 1:1.

One of our two copies of the Panasonic 70-300mm was plenty sharp wide-open at full telephoto.
ISO 640 | 1/1250 sec | F5.6 | 300mm
Photo by Dale Baskin

That performance holds true as you zoom in to around 200mm, but beyond that point, we noticed on one of our copies that things weren’t so pleasing. We found it to be pretty soft at 300mm, while our other copy was as sharp as we would expect from a lens of this type and at this price point.

ISO 320 | 1/250 sec | F7.1 | 74mm | Panasonic S1R
Photo by Dale Baskin

We found on our less-impressive copy we could work around the softness a bit by stopping down to F8, but this isn’t the brightest lens to start off with. Having to stop down even further will push you towards longer shutter speeds or higher sensitivities, further trading away potential image quality in the process. The main takeaway? Do some quick testing if you choose this lens for yourself, and make sure you’re satisfied with your copy.

Vignetting and distortion

There’s really not much vignetting to speak of beyond the 70mm wide-angle.
ISO 1000 | 1/400 sec | F10 | 96mm | Panasonic S1R
Photo by Dale Baskin

Good news here: The Panasonic 70-300mm F4.5-5.6 exhibits only minimal distortion. It also controls vignetting pretty well. It’s slightly noticeable but easily corrected at the lens’ 70mm wide-angle, and almost nonexistent by the time you reach its 300mm telephoto.

Bokeh

Another strength of the 70-300mm is its pleasing bokeh. That’s achieved thanks to an 11-bladed aperture, and you can expect nice, round bokeh balls not only when shooting wide open, but even if you stop down a little. Look closely and you’ll notice just a little polygonality by F8, but less than you’d expect with a more typical nine-bladed aperture. The ‘cat’s eye’ effect, which turns the balls into ellipses towards the corners, is present as you’d expect on a lens like this, but pretty well controlled.

ISO 400 | 1/400 sec | F5.6 | 144mm | Panasonic S5
Photo by Chris Niccolls

There’s also no sign of onion rings in the specular highlights, which can often cause lenses’ bokeh to look busy and distracting with a noticeable pattern of concentric circles inside the bokeh balls. Really, the only slight shortcoming we noted is that there’s a noticeable soap bubble effect, where the outer periphery of the bokeh balls are a little brighter than their centers.

Flare, ghosting and sunstars

Panasonic tells us that it specifically engineered the 70-300mm to achieve better sunstars, which is interesting given that’s not typically something one expects or even looks for in a telephoto. And while they’re not amazing, they’re certainly present and look reasonably good to us.

ISO 1000 | 1/500 sec | F22 | 71mm | Panasonic S1R
Photo by Dale Baskin

With the bundled lens hood mounted, the lens has good resistance to flare. Even without it or when shooting directly into the sun, only minor ghosting appears towards the far opposite side of the frame, and it’s very well controlled. We didn’t notice any washing out from flare, and contrast remains strong.

Lateral and longitudinal chromatic aberration (fringing)

ISO 100 | 1/1600 sec | F7.1 | 71mm | Panasonic S5
Photo by Chris Niccolls

Lateral chromatic aberration (LaCA), which often shows up as colored fringing along high-contrast edges near the edges of the frame, are well-controlled on the Panasonic 70-300mm; this is easy to correct in post anyway, but as you can see from the above image with no CA reduction, it’s not a problem. As we would expect for this type of lens, there’s basically no longitudinal chromatic aberration (LoCA), which would show up as green or magenta fringing behind and in front of the plane of focus at wider apertures.


Conclusion

What we like What we don’t
  • The L-mount’s first 70-300mm option
  • Solid build with a quality feel
  • Fully weather-sealed
  • Very swift autofocus
  • Minimal focus breathing
  • Effective image stabilization
  • Minimal distortion and aberration
  • Pleasing bokeh
  • Good flare resistance
  • Close focusing gives good macro capabilities
  • List pricing is a bit on the high side
  • Large 77mm filter size will cost more, too
  • Slightly longer than you’d expect for a lens of this type
  • A bit soft even in the centers towards telephoto when wide-open
  • Focus plane isn’t very flat towards tele, either

We found a lot to like in the Panasonic Lumix S 70-300mm F4.5-5.6 Macro O.I.S., but a relatively high price tag nevertheless makes it a lens where you need to manage your expectations. A list price of $1249 puts it in roughly the same league as some Canon L or Sony G glass on other mounts, but it’s not quite in the same class in terms of its build or optical performance.

ISO 500 | 1/125 sec | F4.5 | 70mm | Panasonic S1R
Photo by Dale Baskin

But that list price doesn’t necessarily tell the whole story. From launch, Panasonic is offering a steep discount that brings the cost down to a more reasonable $1000, putting it roughly midway between consumer glass and higher-end offerings on other mounts. And that seems about right, as that’s where we see it fitting, both optically and physically.

It pairs beautifully with Panasonic’s L-mount bodies, and has a solid, quality feel in-hand. And it’s capable of great image quality across much of its zoom range, though we do have a slight concern about sample variation, particularly regarding sharpness at the telephoto end.

ISO 3200 | 1/100 sec | F5.5 | 245mm | Panasonic S1R
Photo by Dale Baskin

Tell yourself that you’re paying less at retail than for high-end rivals and still getting full weather-sealing, great autofocus performance, good macro capabilities and pretty gorgeous bokeh, though, and it feels like a much better value than that list price might otherwise suggest.

But if what you care about most are value and zoom range, you might consider the Sigma 100-400mm F5-6.3 DG DN OS instead. It’s a little less bright and noticeably bulkier, but it’ll also give you even more telephoto reach while still saving you just a little cash over its Panasonic rival.


DPReview TV review

See what our team at DPReview TV has to say about the Panasonic 70-300mm F4.5-5.6.


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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.

{/PressRelease}



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