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R, but with a separation of the roll and pitch indicators. When the camera is perfectly level, the pitch indicators and markings at the end of the roll indicator are illuminated in green. Sony has retained a similar menu system in the Sony A33 to that previously featured in the Alpha series DSLRs, but incorporating the new database-driven Playback mode from the NEX-series SLD models. The user interface of the Sony A33 is generally clean and easy to understand, with the one major exception being the rather arbitrary segregation of still images and videos in playback mode. Switching between viewing stills and videos requires the user to either enter the menu system, or zoom out to the thumbnail view and select the appropriate tab. Zte axon 7 cheap The Sweep Panorama modes create lengthy panoramic images with a single sweep over the scene, and do a good job of automatically correcting for uneven panning, although they do sometimes show stairstepping in nearby subjects. The 3D variant is particularly unusual, in that it calculates separate left and right-eye views by comparing the positions of subjects as seen by the left and right sides of the lens. The result is saved as a multi-picture object file containing separate left - and right-eye JPEG views of the scene, for viewing on 3D displays. Auto High Dynamic Range mode captures numerous images with varied exposure, then creates a single image with much greater dynamic range than would otherwise be possible.
Handheld Twilight mode captures a batch of high-ISO images, reducing blur from camera shake, and then averages the aligned exposures so as to reduce image noise. A new Multi-Frame NR mode acts similarly, but allows the ISO sensitivity to be selected manually, allowing use even at lower sensitivities. The Sony A33 uses both SD and Memory Stick Pro Duo cards, and an NP-FW50 battery.
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As an alternative for those who prefer more standardized media, Sony also supports three flavors of Secure Digital cards -- standard SD, SDHC, and SDXC. The Sony Alpha A33 uses a 7. Tested to the CIPA standard, the Sony Alpha A33 is rated at the lowest battery life among its SLT-series siblings, with 340 LCD shots, or 270 shots with the EVF. By way of comparison, the A55V captures 380 shots with the LCD, or 330 shots with the EVF, while the A55 can manage 390 shots on the LCD, or 350 with the EVF. Both deliver higher capture speeds than other consumer-class digital SLR, at 7 and 10 frames per second respectively, as well as true phase-detect live autofocus during video recording. I had a chance to spend a few days with a late prototype of the Sony A55 (equipped with production firmware version 1. Looking at just how much I found to comment on below underscores for me just how much Sony has done in the last few months.
Read on for some of my thoughts on this new class of consumer SLR:Attack of the giant hand? Despite the disparity between the size of my hand and the camera body, the grip was still fairly comfortable. Leaving their advanced capabilities aside, the Sony A33 and A55 are also remarkably compact cameras.
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As a result, the body is noticeably compact. The design of the front grip naturally encourages my middle and third fingers to curve downward, my pinkie to fold underneath the body, and to carry the weight of the camera on my middle finger, between the second and third knuckle.
Rest for your thumb The deeply sculpted thumbrest does a lot to make the grip feel secure. Combined with the textured rubber used over the whole right half of the body, it provides a very secure gripping point for my thumb, and does a lot to make up for the small size of the front grip. The rubber coating also contributes to a feel of solid build quality, by damping the body vibrations that often make small and light cameras feel tinny or cheap. Since the camera is capable of very fast live autofocus during video recording, I often found myself wanting to zoom during the recording, something that would be anathema on a conventional video-capable SLR. The result was a lot of weight for my right wrist to carry, and the small grip made it more difficult than otherwise.
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When shooting normally with smaller lenses, though, I never found the grip uncomfortable. Adjusting settings via the Fn menu is generally a good experience.
This is nice because it lets you quickly make a number of Fn settings changes in succession, without having to drop down a menu level for each, or being forced out of the Fn menu between choices. The few exceptions to this are those items with a second level of control, such as multi-shot ISO or the tweak adjustments for white balance settings.
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The only exit at that point is to hit the OK button again, which unfortunately drops you out of the Fn menu entirely. That said, though, the viewfinder turned out to be absolutely integral to my experience with the camera.
I found I actually liked this rear projection, as it left a bit more room for my nose when I held the camera to my eye. Happily, the neckstrap eyelets are arranged such that the camera hangs lens-down when on a neck strap, so I had no trouble with the projecting eyepiece poking me in the chest. In particular, EVFs usually have limited sensitivity and dynamic range, not to mention low refresh rates and poor resolution when compared with the view through a conventional optical viewfinder. Given my long-term dislike of EVFs, I was surprised to find myself as comfortable as I was with the one on the Sony A55 and A33. It by no means corrects all the ills of the genre, but does go a long way in the right direction.
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It still loses highlight detail in scenes with both deep shadows and strong highlights, but I found it workable most of the time. I could generally make out clouds against the sky, important for framing landscape shots. The time-multiplexed full-color RGB pixel technology generally worked well to deliver very high resolution with no gaps at all between the pixels. The only place I was aware of the EVF pixels were in diagonal strokes of letters on the various VF info readouts, or on the electronic level display, when the indicator lines were tilted.
I never saw pixel jaggies when looking at the subjects I was shooting, even in the case of sharp high-contrast edges. After a couple of days of shooting with the camera, though, I again became largely unaware of it and now have to deliberately look for it to be aware of the effect. On the Sony A33 and A55, the EVF can serve as both shooting and playback display.
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As mentioned earlier, the ability to check your shots and make camera settings without taking your eye from the eyepiece leads to a slightly different and more efficient shooting style; one that encourages you to learn the camera by feel and memory, rather than looking at the controls as you press them. A final benefit of the EVF is that it lets you keep the camera to your eye during video recording, something no other SLR currently offers, although some SLDs do. It manages this with a comfortably high eye point (and plenty of dioptric adjustment) for eyeglass wearers, at least when simply viewing the live viewfinder image itself. When you switch to the Fn menu display, though, you need to press your eye pretty close to the viewfinder eyepiece to be able to see the menu items on the left and right sides of the screen.
I found that with my eyeglasses on, I had to shift my eye to the left or the right to see the menu entries on the sides, or else really mash my eyeglasses against the eyecup. Because it could appear right there in the viewfinder, rather than on the rear-panel LCD, I was surprised to see how much I came to rely on the electronic level display for keeping my landscape shots straight when there was no obvious horizon line. Most telling is that I now find myself reluctant to give up its benefits and return to world of purely optical viewfinders once again. First, of course, it literally twists and rotates, albeit from the bottom of the body, rather than the side.
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