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Tested: Sony’s trio of compact 24mm, 40mm and 50mm G prime lenses

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Tested: Sony’s trio of compact 24mm, 40mm and 50mm G prime lenses

Earlier this year Sony announced a set of three compact full-frame E-mount prime lenses: the 24mm F2.8 G, the 40mm F2.5 G, and the 50mm F2.5 G. Their small, lightweight design makes them convenient for casual and on-the-move photographers, and their nearly identical sizes and weights make them ideal for gimbal movie shooters requiring the versatility of a few different focal lengths. All three lenses weigh roughly 170g, offer 49mm filter threads and come in at an MSRP of $599 USD.

We wanted to take a look at how they perform optically. But first, let’s start with the optical designs:

Optical designs of the 24, 40, and 50mm compact G primes from Sony

We’ve previously pored over and extrapolated as much as we could from the (theoretical) MTF figures of each of these primes: the 24mm, the 40mm, and the 50mm. Now that we’ve had them in our hands, we can take a closer look at how they perform in real-world usage.The Sony 24mm F2.8 G prime comprises 8 elements in 7 groups, while the 40mm and 50mm F2.5 G primes comprise 9 elements in 9 groups. All three of Sony’s latest G-series primes use aspherical elements (indicated in purple above) to maintain high resolving power across the frame and reduce common aberrations, according to Sony. The 24mm and 50mm lenses additionally employ one ED (extra-low dispersion) element each in their respective designs to reduce chromatic aberrations and fringing.


Sharpness and Lateral CA

One thing is clear up front: these lenses are already at their peak sharpness practically when shot wide open. So if you’re shooting in low light or trying to isolate your subject, you can shoot wide open without any worry of sacrificing sharpness. Below we examine lens performance for an infinity scene. All images have had distortion correction applied; however, lateral chromatic aberration and vignetting remain uncorrected.

Clicking on in-line links changes the state of the image widget below; please refer back to this widget after clicking each link.

Sony 24mm F2.8 G

In the center, the 24mm F2.8 G is very sharp wide open, with little-to-no evidence of any ‘veiled soft’ look at wide apertures, thanks to nearly 100% MTF response for low contrast detail wide open. There’s only the tiniest increase in sharpness going from F2.8 to F4 in the center, and it’s hard to discern even in side-by-side A/B comparisons. The lens is sharp enough that you might notice a slight diffraction-induced softening going from 5.6 to F8 on a high-resolution sensor such as the a7R IV.

At the edges, you don’t really see an increase in sharpness until you get to F8, and it’s minimal at best, something confirmed from its theoretical MTF traces. There doesn’t seem to be much field curvature, as focusing out toward the edges doesn’t really help sharpen things up. Focusing at the edges does decrease center sharpness ever so slightly, though, so if you’re shooting a distant flat scene, you’re better off simply focusing at the center.

The 24mm F2.8 G has some lateral chromatic aberration that gets slightly worse as you stop down, but it’s easily removed automatically in JPEGs or in post-processing with the metadata embedded in the Raw file. The lens remains tack sharp at close-focus distances, too, and has a respectable maximum magnification of 0.19x in manual focus mode (0.13x with AF).

Sony 40mm F2.5 G

The 40mm F2.5 G is extremely sharp wide open, again with no dreamy softness thanks to a nearly 100% MTF response for low contrast detail wide open. While the sharpness MTF traces (30 lp/mm) increase noticeably upon stopping down, it’s so modest that it’s barely visible even in real-world side-by-side comparisons. Beyond F2.8, it’s difficult to note any increase in sharpness, which is a testament to its performance.

The lens is so sharp that it’s fairly easy to spot diffraction-induced softening by F8. Corner sharpness increases once you get to F5.6, but the increase in sharpness is fairly modest since the edges are pretty sharp to begin with wide open. There’s no increase in edge sharpness if you focus at the edge (as opposed to the center), suggesting very well-controlled field curvature that is low enough for you to not concern yourself with it.

The 40mm F2.5 G has no discernible lateral chromatic aberration. Close-up performance remains quite good wide open, with sharp results and little loss of contrast. The lens can focus down to 0.25m in manual focus mode, yielding 0.23x maximum magnification (0.2x with AF).

Sony 50mm F2.5 G

At the risk of sounding like a broken record, the 50mm F2.5 G is extremely sharp wide open, with no veiled look wide open thanks to nearly perfect contrast wide open. Like the 40mm F2.5 G, it gets a smidgen sharper going from F2.5 to F2.8 (predicted by the 30 lp/mm sharpness MTF plots), but it’s difficult to perceive any increase in sharpness as you stop down further from F2.8. A lens that’s diffraction limited by F2.8 to F4 is an incredibly sharp lens indeed, so kudos to Sony’s designers; this series of primes seem optimized for sharpness at or very near wide open.

You’ll start to see diffraction-induced softening by F8 and definitely by F11. Edges sharpen up slightly at F5.6 and more so at F8, but it’s a modest improvement over the already sharp results wide open. There’s no increase in corner sharpness if you focus out there; in fact, a decrease if anything. This indicates the lens likely has a very flat field of focus, an attribute it shares with the 24mm and 40mm primes.

Lateral chromatic aberration is extremely well-controlled: we can’t see even a hint of it at 1:1 magnification. Images shot at close-focusing distances remain sharp wide open, with a close focus distance of 0.31m and a maximum magnification of 0.21x in manual focus mode (0.18x with AF).


Vignetting

All three lenses vignette significantly when shot wide open, which isn’t too surprising given their compact sizes.

The 24mm F2.8 G has significant vignetting wide open, and continues to vignette until F11 where it is barely noticeable. Yet there is still a small decrease in vignetting going from F11 to F16. At its worst, at F2.8, we measure the vignetting to be 1 stop at the corners relative to F16.

The 40mm F2.5 G fares a bit better in the vignetting department, with most of the vignetting clearing up by F5.6. However, F8 still shows less vignetting in the corners than F5.6, and there’s a slight increase in brightness in the extreme corners even at F11. At F2.5 we measure a 1.2 EV drop in corner brightness relative to F16.

It’s a similar story with the 50mm F2.5 G: most of the vignetting clears up by F5.6, but the corners brighten up a bit more at F8, while the extreme corners don’t reach their peak brightness until F11. At F2.5 we measure a 1.1 EV drop in corner brightness relative to F16.


Distortion

We don’t worry too much about distortion these days simply because of how easily corrected it is in JPEGs or during the Raw conversion process, but it’s insightful to look at in understanding why some edge softness may never sharpen up even upon stopping the lens down.

24mm F2.8 G

The 24mm F2.8 G exhibits a high degree of barrel distortion. While it’s easily corrected for, the stretching of the edges of the image upon correction may account for some of the edge softness that persists even up on stopping the lens down.

Slide the circle with the arrow carrots right to view the corrected image, and left to view the uncorrected image, below.

40mm F2.5 G

The 40mm F2.5 G lens also shows some barrel distortion, but it’s far less severe than the 24mm F2.8 G. It’s not too surprising, then, that edge sharpness does increase upon stopping the lens down, as there isn’t a lot of stretching occurring at image edges upon correction of distortion.

50mm F2.5 G

The 50mm F2.5 G lens shows very little distortion; in fact the corrected and uncorrected images appear nearly identical. The low level of distortion means that edges and corners of the image aren’t stretched at all after distortion correction, and so these areas of the image remain quite sharp especially upon stopping the lens down.


Bokeh

Bokeh characteristics vary across the three primes. All three lenses exhibit some cats eye effect out towards the image edges, and while the effect isn’t too distracting, it’s a bit more than we might expect for lenses with such moderate maximum apertures. Have a look at cats eye effect by following these links for the 24mm, 40mm, and 50mm lenses.

Taking a closer look, the 24mm F2.8 G has the smoothest bokeh discs (or circle-of-confusion/CoC) of the pack, with little to no apparent texture or onion rings. However, it exhibits a bit of ‘soap bubble’ effect, visible as bright edges around the CoC. Although this can lead to a slightly busy appearance where bokeh discs start to overlap, we didn’t find it too much of an issue in real-world usage. Stopping the lens down to F4, however, leads to a polygonal-shaped CoC, as the 7-bladed aperture has too few blades to retain a circular shape.

The 40mm and 50mm F2.5 G lenses have similar bokeh characteristics: both lenses exhibit texture and onion ring patterning to their CoCs. We should mention, though, that we’ve only tested one copy of each lens, and it’s possible that other units of these lenses may have more or less texture in out-of-focus specular highlights. However, in our years of testing we have noted that lenses with small elements and longer focal lengths are more prone to textured CoCs, due to small defects in element surfaces presenting over a greater proportion of the image- compared to similar sized defects in lenses with larger elements. Hence we do expect the the 24mm F2.8 G to yield smoother out-of-focus bokeh discs relative to the 40mm and 50mm lenses.

Wide open there’s not much of an issue at all with bright edges to the CoC, but stop the lenses down to F4 and you’ll notice a similar bright edge to the CoC as with the 24mm F2.8 G. Again, we didn’t find this to negatively impact bokeh significantly in real-world usage (follow the gallery links at the bottom of the page to judge for yourself).


Longitudinal CA / Bokeh Fringing

While the 40mm and 50mm F2.5 G lenses show no observable lateral chromatic aberration (LCA), the 24mm F2.8 G does. Funnily enough, the situation is precisely reversed when it comes to longitudinal chromatic aberration (LoCA)! Both the 40mm and 50mm F2.5 G exhibit a fair degree of LoCA, visible as purple and green fringing in front of, and behind, the focus plane, respectively. Meanwhile, LoCA is quite well controlled on the 24mm F2.8 G.

Longitudinal chromatic aberration (LoCA) of the 24mm F2.8 G (left), 40mm F2.5 G (center), and 50mm 2.5G (right) lenses. The 40mm and 50mm F2.5 G lenses exhibit a significant amount of LoCA, visible as green fringes around out-of-focus highlights behind the focus plane. The 24mm F2.8 G controls this type of CA fairly well.

Flare / Ghosting

If you point the lenses directly at the sun or similar bright light sources, you may notice some loss of contrast due to flare, particularly when shooting wide open and more so with the 40mm and 50mm F2.5 G lenses. The 24mm F2.8 G fares a bit better in this regard, but it’s not entirely immune to contrast-reducing flare. The good news is that for each lens, the contrast loss is fairly minimal. All three lenses show a fair degree of ghosting, caused by repeated reflections off of internal lens surfaces. When the reflections occur in front of or behind the lens aperture, the ‘ghosts’ take on the shape of the aperture. Compare all three lenses shot into the sun wide open below.

Stopping the lenses down to F16, the ghosts becomes more apparent and better defined, particularly with the 40mm and 50mm F2.5 G lenses. Stopped down, the image artifact can be distracting, but keep in mind that in the scenario here we purposefully adjusted the angle and composition to maximize flare and ghosting, and it’s unlikely to be an issue in most situations.

The sunstar performance of all three lenses is quite similar. The 7-bladed apertures yield 14-ray sunstars. They’re nice, but they won’t blow you away: the rays aren’t as sharply defined as we tend to like, and we appreciate the 18 and 22-point sunstars that 9-bladed and 11-bladed apertures, respectively, yield.


Conclusion

Sony’s G ‘mini primes’ are a welcome addition to the full-frame E-mount lineup. They perform well optically, focus nearly instantaneously thanks to their double linear motors, and cover useful focal lengths while featuring relatively fast apertures. Their physical similarity makes them great for video work where you may wish to swap focal lengths without having to re-configure or re-balance your gimbal or drone. That said, they’re not without their flaws.

In terms of resolving power, the sharpness of these lenses doesn’t disappoint: you can happily shoot them wide open without any worry of sacrificing much, or any perceivable, image quality. Their linear motors focus nearly instantaneously, so you can keep up with fast action. Lateral CA simply isn’t an issue for the 40mm and 50mm primes, and the relatively minor amount that’s there on the 24mm F2.8 G is easily removed in post-processing. Distortion is a bit extreme on the 24mm but easily corrected for; however, it’s possible that the need for correction negatively impacts image sharpness at the edges even at smaller apertures. It’s only extreme edges affected, though, so it’s nothing we’d be concerned about.

Sony’s G compact primes are optically well-performing, fast-focusing lenses of useful focal lengths

Bokeh is arguably a bit smoother on the 24mm F2.8 G, with the 40mm and 50mm primes suffering from textured out-of-focus highlights with onion rings and significantly magenta and green bokeh fringing. That fringing is caused by a fair bit of longitudinal CA that can impact real world images, particularly in areas of the image just falling out of focus. None of these primes are immune to flare and ghosting, which is somewhat expected for this type of lens at this price point.

If you don’t find yourself chasing the shallowest depth-of-field or needing the extra light available from F1.2 – F2 lenses, these primes are a great way to save some money and some weight and space in your camera bag. We imagine most users will choose between the 40mm and 50mm primes, and will benefit from knowing there really isn’t a significant difference in optical performance. The 24mm F2.8 G appears to be a cut above the 40 and 50mm primes optically, and we imagine it finding its way into at least a few camera bags. Meanwhile, the 50mm F2.5 G is an attractive alternative to the more expensive Sony/Zeiss 55mm F1.8, thanks to its excellent sharpness and relatively similar bokeh and longitudinal and lateral CA performance compared to that lens. The 40mm F2.5 G leaves us scratching our heads a bit: it’s not quite in between the 24mm and 50mm lenses and we have a feeling most people will opt for the excellent 35mm F1.8 lens instead.



Sample galleries

Please do not reproduce any of these images without prior permission (see our copyright page).

Sony 24mm F2.8 G gallery


Sony 40mm F2.5 G gallery


Sony 50mm F2.5 G gallery


Sony mini primes sample gallery (DPReview TV)

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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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