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Sony Alpha SLT-A35

Fixed ASSetSony’s lower-priced SLt-series

d-SLR got a bit hidden behind

its big brother so it’s been given

an update and launched on its

own so it can get the attention it

deserves. Report by Paul Burrows.

Video start/stop has a dedicated button and so does the dynamic range expansion and HDR processing which makes them easier to access on-the-fly.

ony has always been a company that does things a little differently and its SLT-series

D-SLRs are a good example of this. Sony inher-ited its D-SLR platform from Konica Minolta, but has very quickly built its own identity with the subsequent generations of models, gaining a respectable slice of the market for a newcomer. Like everybody else, Sony has also developed a system of compact cameras with interchange-able lenses, but it’s also recognised that people who want a compact D-SLR actually do want a digital SLR. This is where the SLT-series models step in.

These cameras are still D-SLR as they retain a reflex mirror and have a built-in eyelevel viewfinder. They look like an SLR and they retain Sony’s full-size A-mount (nee Minolta) lens fitting so there’s a host of both new and ‘legacy’ lenses that are compatible, including the fabulous optics Zeiss has created for Sony. However, the reflex mirror is fixed and the eyelevel viewfinder is electronic which seems to be a bit contradictory until you understand what’s going on. OK, so EVFs, even the best ones, don’t cut it alongside a purely optical finder, but Sony has a compelling reason for adopting this arrangement.

The fixed mirror employs what Sony calls its ‘Translucent Mirror Technology’ which basically means it’s semi-silvered so some light passes through it and some light is reflected. In a conventional SLR, the reflected light is directed to the viewfinder eyepiece and, in many

cases, to the exposure metering sensor. When autofocusing was introduced a small section of the mirror was made semi-transparent so that some light could go to the sensors measuring the subject distance. These are usually located in the base of the mirror box, and a small sub-mirror hanging off the back of the main mirror reflects the in-coming light rays onto them. With the arrival of live view which requires that a conventional reflex mirror be flipped up so light can travel directly to the imaging sensor, none of these systems work any more. The viewfinder is blacked out and phase-difference detection AF is disabled because the sensors are also cut off.

The D-SLR makers have tried finding ways around this, primarily because contrast-detection autofocusing is as slow as a wet weekend in comparison with phase-detection. Sony’s translucent mirror arrangement is the neatest so far as it allows for phase-detection AF with both live view and video recording plus, because it’s fixed and no time is wasted with it flapping around, faster continuous shooting is possible. The AF sensors are located in the top of the mirror box which, when you think about it, is really the only place for them as the secondary mirror design wouldn’t work. It’s obviously for this reason that the SLT-series D-SLRs really have to have an EVF rather than an optical finder. It would theoretically be possible to retain an optical finder, but there would be brightness problems, not to mention the complexity and

cost of putting the AF sensors somewhere with the pentaprism housing. It would be a bulky arrangement too, and the A35 is most definitely one of the smallest D-SLRs on the market. In fact in terms of size – and even, to some extent, styling – it looks more like a superzoom-type fixed lens compact. In many ways, Sony’s SLT-series provide the best of both worlds – compact dimensions, interchangeable lens, SLR handling characteristics, an eyelevel viewfinder that isn’t an afterthought and, of course, D-SLR performance in the key areas of autofocusing and continuous shooting speeds. Of course, the idea of a fixed mirror isn’t new. Canon tried it back in the 1960s with its Pellix 35mm SLR model and it’s been used in a number of pro-level 35mm-era Canons and Nikons to achieve an increased shooting speed.

Stepping UpThe A35 steps up to the same 16.5 megapixels CMOS sensor that’s used in the A55 and it’s from Sony’s ‘Exmore’ family, optimised for the de-mands of high-definition video recording. It works in concert with the latest generation of Sony’s ‘Bionz’ high-speed processors which employs a range of other advances, including upgraded noise reduction processing. This manifests itself in an increase in the sensitivity range which now spans the equivalent of ISO 100 to 12,800. The imaging area is 15.6x23.4mm which means the A35 is an ‘APS-C’ format D-SLR and the focal length magnification factor is 1.5x.

The effective resolution is 16.2 megapixels which delivers a maximum image size of 4912x3264 pixels at an aspect ratio of 3:2, but there’s a choice of three smaller sizes and another four settings at the 16:9 aspect ratio. JPEGs are recorded at one of two compression settings with the option of RAW+JPEG capture. The maximum continuous shooting speed is 5.5 fps which is achieved with the autofocusing fully operational, including tracking. This is quite respectable for what’s primarily designed as an entry-level D-SLR, but you can accelerate up to 7.0 fps via what Sony calls the ‘Telezoom High Speed’ mode which crops the sensor to give a resolution of 8.4 megapixels. It’s not so long ago that 8.0 megapixels was a big deal so it’s likely some users will find this mode pretty handy for shooting sports action, especially as the crop represents another increase in the effective focal length of 1.4x. This means the standard 18-55mm zoom is now a 38-115mm so a short telephoto easily becomes a longer one without the attendant increases in size and weight so shooting hand-held remains a realistic proposition. The A35 has body-based image

stabilisation which extends the hand-holding ‘range’ even further. It’s also worth noting that the burst length increases in the ‘Telezoom’ mode from 14 frames at the full resolution to 21 which should increase your chances of capturing the vital moment in an action sequence.

With successive generations of its D-SLRs Sony is introducing more of its own technologies and features, and most of these are related to image processing such as the ‘Sweep panorama’ modes, the ‘Smile Shutter’ auto triggering, ‘Handheld Twilight’ multi-shot capture, a set of special effects and high dynamic range (HDR) capture. There’s a selection of seven ‘Picture Effects’ as Sony calls them and which generically, of course, are currently the feature du jour on D-SLRs. The A35’s line-up is Posterisation, Pop Colour, Retro Photo, Partial Colour, High Key, High Contrast Monochrome and Toy Camera. Most of these are self-explanatory in their effect and Partial Colour does the same thing as Extract Colour over at other brands and removes all but one colour, leaving the rest of the image in contrasting monochrome.

Creative ChoicesThe A35 has a choice of six ‘Creative Style’ picto-rial presets which are called Standard, Vivid, Por-trait, Landscape, Sunset and B&W. Each of the colour modes allows for the tweaking of satura-tion, contrast and sharpness, but the B&W mode lacks either contrast filters or toning effects. There’s isn’t any provision for creating a custom

‘Creative Style’ either so you have to remember if you’ve fine-tuned any of the presets.

Sony was the first to introduce dynamic range expansion processing on a D-SLR (back with the original A100 model) and now it’s very much a standard feature, along with multi-shot HDR capture. The A35 has a dedicated ‘D-Range’ button on its top panel so Sony clearly thinks this is a feature you’re going to want on a regular basis. The camera’s ‘Dynamic Range Optimiser’ (DRO) function has an Auto mode and five manual settings. DRO analyses the image in sections and then adjusts the tone curve mainly to brighten the darker areas and primarily to reduce the contrast between subject and background.

The HDR function takes two exposures in rapid succession, one underexposed in order to hold on to detail in the highlights and the second overexposed to enhance detailing in the shadow areas. The two are subsequently combined to give a significantly extended dynamic range.

Video clips are recorded in the AVCHD format at the Full HD resolution of 1920x1080 pixels and the A35 stands out from the crowd by having

S

“Sony’s fixed translucent mirror allows for phase-detection AF with both live view and video recording plus, because it’s fixed and no time is wasted with it flapping around, faster continuous shooting is possible.”

In addition to the standard set of exposure control modes, the main dial is used to access the A35’s new special effects and the ‘Sweep Panorama’ modes.

Sony continues to use the unique twin-rail hotshoe fitting that Minolta introduced with the Dynax-series of 35mm SLRs.

Four-way navigator also serves as a short-cut to the drive modes, white balance settings and ISO. The ‘Disp’ function cycles through three status display configurations.

Despite its small size, the A35’s grip is very comfortable to hold. This model takes over from the A33 and has been upgraded in a number of key areas (including the sensor) to improve its appeal.

Sony’s SLT-series D-SLRs have a fixed pellicle-type mirror to enable phase-difference detection autofocusing to be maintained in both live view and when shooting video clips.

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either side of the pentaprism housing, but Sony also provides an input for an external microphone should you want something a bit grander. You see, the companies with a background in audio and electronics know about these things. Video can also be recorded at the 720p resolution in the MP4 format.

Focusing And ExposureThe A35 retains the same 15-point autofocusing system as its predecessor and the points are arranged in a 4-7-4 pattern to give reasonably wide subject coverage. Additionally, three of the central points are cross-type arrays. The focus points can be selected manually and there’s a spot AF mode which uses only the central point. Switching between the single-shot and continu-ous modes can be done manually or left to the camera if subject movement is detected. Face detection is available and Sony’s ‘Smile Shut-ter’ which will automatically take the shot if the subject is smiling.

Exposure metering is based on a 49-zone multi-pattern system with the option of centre-weighted average and spot measurements. The standard set of ‘PASM’ exposure control modes is supplemented by nine subject modes which includes the standard types (i.e. portraits, landscapes, etc) and a couple of extras such as ‘Handheld Twilight’ which captures a rapid-fire sequence of images and then combines them to effectively boost the sensitivity without unduly increasing the noise levels. Exposure fine-tuning is possible via an AE lock, up to +/-2.0 EV of compensation and auto bracketing which is available with 0.3 and 0.7 EV adjustments applied over three frames, Bracketing is also available for white balance, again over three frames. The A35’s auto white balance control is supplemented by six presets, provisions for making a custom setting and manual colour temperature setting over a range of 2500 to 9900 degrees Kelvin. Each of the presets can be fine-tuned over a range of plus/minus three steps (in the appropriate colour range) and the colour temperature setting can be modified via a set of magenta and green colour correction ‘filters’.

The A35’s shutter retains a speed range of 30-1/4000 second with flash sync up to 1/160 second. The built-in flash has a metric guide number of 10 (at ISO 100) and provides auto, fill-in, red-eye reduction, slow-speed sync, high-speed sync and second curtain sync. Additionally, it will operate as the commander unit in a wireless TTL set-up which saves you buying an additional accessory flash. The A35 retains the twin-rail Dynax-type flash hotshoe fitting which, of course, is a carry-over from the Minolta days.

Taking ControlSony pretty well follows the current convention in compact D-SLRs as far as the A35’s control layout is concerned. There’s a main mode dial,

a four-way controller for navigation and selection and a small set of function buttons. Movie start/stop is via a dedicated button.

Quite a few capture-related settings can be accessed and adjusted via the monitor screen. The icons are displayed down either side of the image area and access is via the ‘Fn’ button. The on-screen settings include ISO, metering, DRO, the ‘Creative Style’ presets, the focusing modes, the drive modes, the flash modes and the white balance settings. In practice, this proves to be the most efficient way to fly the A35 and it’s probably the best arranged screen controller in the business at the moment. The monitor itself is fixed, but has a resolution of 921,600 pixels and uses Sony’s ‘Tru Black’ technology to enhance control. It looks very nice indeed. The main mode dial is shown in the screen along with images illustrating the typical application. These are accompanied by a brief description which will also pop-up in the menu system when a function or setting is selected. The menus are divided into six chapters with straightforward right/left/up/down navigation within each.

Switching between the monitor and the EVF can be done manually or automatically via proximity sensors in the eyepiece. It has to be said that the EVF is actually pretty good, particularly in terms of sharpness and, of course, you get everything that can be shown in the external display which is very helpful indeed. You also get a 100 percent scene coverage. On the negative side, it’s not especially bright and the dynamic range is a bit limited in contrasty situations, but overall the A35’s is certainly among the best EVFs we’ve seen.

Speed And PerformanceAgainst the clock, the A35 easily delivered on the promises made in the specifications and was actually marginally faster at 5.58 fps in our tests. We tried out the 8.0 fps ‘Telezoom’ mode and the image quality at 8.4 megapixels is certainly good enough for a whole range of applications.

The test camera wasn’t a final production example so it’s generally accepted in this situation that we don’t publish test images, but obviously we did still take them and we can tell you that the results look exceptionally good. The colour, definition and dynamic range are all excellent, and the latter is further extended via the DRO processing, especially at the higher level settings. Noise levels are low up to ISO 1600 and still acceptable at ISO 3200 and 6400. There’s

Type: Fully automatic digital SLR with Sony Alpha bayonet lens mount.Focusing: Automatic via 15 points wide-area sys-tem using phase-detection type CCD sensor arrays (three cross-type arrays in centre). Focus points may be selected manually or automatically by the camera. One-shot and continuous modes with auto or manual switching (the latter with a predictive function and auto tracking). Sensitivity range is EV 0 - 18 (ISO 100). AF assist provided by built-in flash.Metering: 49-zone multi-pattern evaluative, centre-weighted average, spot, ADI flash and TTL flash. Metering ranges are EV -2 to 17 for the multi-zone and centre-weighted modes, EV 4 to 20 for the spot mode (ISO 100/f1.4).Exposure Modes: Continuously variable program (with aperture/speed shift), shutter-priority auto, aperture-priority auto, metered manual, and ADI/P-TTL flash. Subject programs for portrait, sports action, macro, landscapes, sunsets, night view, handheld twilight and night portrait.Shutter: Electronic, vertical travel, metal blades, 60-1/4000 second plus ‘B’. Flash sync to 1/160 second with Super SteadyShot switched off, 1/125 second with the facility active. Exposure compensation up to +/-2.0 EV in 1/3-stop increments.Viewfinder: EVF type with 1.15 megapixels resolution. Coverage = 100% vertical/horizon-tal. Magnification = 1.1x (50mm lens at infinity). Eyepiece strength adjustment built-in. Fixed semi-translucent reflex mirror.Flash: Built-in pop-up unit with GN 10 power (ISO 100/m) and 18mm (27mm) coverage. External flash units connect via Konica Minolta Dynax-type hotshoe. Flash compensation up to +/-2.0 EV in 1/3 increments. Auto, fill-in, red-eye reduction, slow sync, rear curtain sync and wireless TTL com-mander modes.Additional Features: Auto exposure bracketing (over three frames), AE lock, multi-mode self-timer (two or 10 second delays), eye-start AF, audible signals, wired remote control, wireless remote control, auto power-off.

DIGITAL SECTIONSensor: 16.5 million pixels CMOS with 15.6x23.4 mm imaging area. Sensitivity range equivalent to ISO 100-12,800.Focal Length Increase: 1.5x.Formats/Resolution: Two JPEG compression set-tings and RAW output (lossless compression), plus RAW+JPEG capture. Three resolution settings at 3:2; 4912x3264, 3568x2368 and 2448x1624 pixels. Three

resolution settings at 16:9; 4912x2760, 3568x200 and 2448x11376 pixels. 24-bit RGB colour for JPEGs, 36-bit RGB colour for RAW files.Video Recording: Full HD = 1920x1080 pixels at 25 fps, 16:9 aspect ratio and AVCHD format. HD = 1440x1080 pixels at 25 fps, 16:9 aspect ratio and MP4 format. SD = 640x424 pixels at 25 fps and 3:2. Clip length of up to 20 minutes in duration or 4.0 GB in file size. Built-in stereo microphones.Recording Media: SD/SDHC/SDXC, Memory Stick PRO Duo/PRO HG.Continuous Shooting: Up to 5.5 fps for 14 frames with JPEG/large/fine capture, up to six frames with RAW capture. Up to 7.0 fps in ‘Telezoom Mode’ with resolution reduced to 8.4 megapixels.White Balance: TTL measurement auto/manual control; six presets each with +/-3.0 steps of cor-rection, one custom setting, manual colour tem-perature setting (2500 to 9900 degrees Kelvin) with magenta and green CC adjustments.Interfaces: USB 2.0, HDMI output, 3.5 mm stereo microphone input. Additional Digital Features: Fixed pellicle mirror allows for conventional AF with live view and video recording, image stabilisation via sensor-shift, active sensor cleaning, 7.62 cm LCD monitor (921,600 pixels), six ‘Creative Style’ modes (Standard, Vivid, Portrait, Landscape, Sunset and B&W ), image parameter adjustments (contrast, sharp-ness and colour saturation), seven ‘Picture Effects’ (Posterisation, Pop Colour, Retro Photo, Partial Colour, High Key, High Contrast Monochrome, Toy Camera), ‘Sweep Panorama’ (2D and 3D), ‘Auto HDR’ capture mode, ‘Dynamic Range Optimiser’ (Standard and Advanced modes), exposure his-togram with luminance limit alert (highlights and shadows), RGB histograms, noise reduction for long exposures and high ISO settings, adjustable image display time, 6/12 thumbnails display, slide-show, playback zoom (up to 12.8x with JPEG/large images). PictBridge compliant.Power: Rechargeable 7.2 volt, 1080 mAh ‘InfoLithium’ lithium-ion battery pack (NP-FW50 type).Dimensions (WxHxD): 124.0x92.0x85.0 mm (body only).Weight: 415 grams (body only without battery pack). Price: $949 with Sony DT 18-55mm f3.5-5.6 SAM zoom lens.Distributor: Sony Australia, telephone 1300 720 071 or visit www.sony.com.au

Sony AlphA SlT-A35 $949*

Neat graphic replicates the main mode dial and includes both a description of the selected mode and an illustrative image. You’d have to think Sony is now only a step away from touch screen control on its SLT-series cameras.

The ‘Telezoom’ mode crops the sensor by 1.4x to enable continuous shooting at 7.0 fps and a resolution of 8.4 megapixels.

‘Sweep’ shooting modes create panoramas in-camera and the stitching is exceptionally accurate.

On-screen mode descriptions also include handy hints. Sony’s ‘self-help’ displays are the best we’ve seen in terms of language and content.

noticeable chroma noise at the ISO 12,800 settings and definition is reduced, but images that didn’t require a high degree of enlargement are more than passable.

The big deal with the A35 is, of course, the fixed mirror because having a fast and accurate autofocusing system in both live view and when shooting movies is a huge bonus. After experiencing the extra speed you just won’t want to go back to contrast-detection. The 49-zone metering is also very reliable even in quite contrasty situations.

While some features are a bit idiosyncratic in their presentation and execution, overall

this camera is very comfortable to handle and efficient in its operation.

The VerdictSony’s A35 has to be a serious contender in the sub-$1000 D-SLR price bracket. It’s better featured than many of its rivals, nicely compact and hugely capable. The plus points are things Sony can obviously do well like the LCD monitor screen and the quality of the video recording, but from a photographic point-of-view this is a very likeable camera. It’s undoubtedly going to help Sony boost its market share in D-SLRs because, most importantly, the A35 is a D-SLR.

This diagram shows the light paths through the fixed pellicle mirror in an SLT-series D-SLR. The reflected light goes to the AF system’s sensors which are in the roof of the mirror box. This arrangement necessitates the use of an EVF rather than an optical viewfinder.

‘Handheld Twilight’ mode captures multiple exposures which are combined to effectively increase the sensitivity without increasing the noise level.

The A35 has an ‘Auto+’ mode which is a step up from full auto shooting in that it allows for some adjustments to be made.

The menu pages are logically arranged and attractively styled. Navigation is very straightforward.

Labels for functions and features also appear in the menus.

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