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This unfortunately makes it useless for composing self-portraits with the camera mounted on a tripod, but otherwise is quite helpful for getting over-the-head and ground-level shots with ease. It loses some highlights, but makes the viewfinder remarkably usable in direct sunlight. Shot in direct afternoon sunlight, the sequence above gives you some idea of the effect. This is a combination of anti-reflective coatings and a darker mask around the LCD pixels, to keep shadow areas darker. Zte axon 7 cheap The LCD improvement I found most the most dramatically useful was the brightness settings. Set to Auto brightness, the camera will brighten or dim the LCD display in response to ambient light. This helps a good bit in bright daylight, but the display still washes out in direct sunlight. They in fact do a remarkable job of delivering 7fps or 10fps full-resolution shooting speeds, although in some respects, the experience is still rather different than shooting with high-end pro SLRs with that sort of burst capability.

The heart of the difference has to do with what image the Sony A33 is showing you through the viewfinder at any given moment. High-end professional SLRs drop the mirror between exposures, providing a direct (however brief) view of the subject between shots. Rather than seeing interrupted glimpses of your subject in motion, the A55 displays a procession of still images, each lagging the subject motion.

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After a little practice, I got better at doing so, but I sometimes found myself resorting to tricks like keeping both eyes open while shooting, or shooting in short bursts and using the time between bursts to get the subject properly framed with full-time live view again. Many of the missed-focus shots I took were the result of this problem, versus the camera not being able to track focus quickly enough. Some high-end DSLRs have settings in their autofocus systems to adjust how quickly they respond to momentary loss of the subject.

The A55 can capture shots with amazing speed, but once its buffer is filled, things slow down dramatically. The A33, for its part, has a smaller buffer, but it takes less time to clear. This dead-screen issue was so pronounced that I found myself dropping back to 6 fps rather than 10 on the A55, and shooting in short bursts at what I thought (hoped? It would have been a lot less aggravating if I could have at least seen thumbnails of just-captured shots immediately after taking them. For all my complaining about the difficulty of tracking sports subjects and the dead-screen issue, though, the difference between these SLTs and other consumer-level DSLRs is little short of astonishing.

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When shooting candids of people chatting and interacting, facial expressions and mouth positions change in literally the blink of an eye. A camera that shoots at 7 frames per second vs. If you enjoy people photography and delight in taking photos revealing real character and emotion, get yourself a Sony A33 and a large memory card, set the camera to high-speed continuous mode, and let fly. Steady in the dark. This was a very dark bar scene, but the shot came out sharp enough for a 5x7 print. It could have used some exposure adjust and (definitely) a different white balance setting. Exposure is auto-only in HHT mode, but the similar multi-frame NR mode gives full control.

Just in the last year, Sony has used its high-speed sensor technology to create a number of innovative new camera features that, on their face, have nothing to do with high-speed shooting. Even if you feel no need for 7 to 10 fps capture in your personal shooting, these special exposure modes alone would be reason enough to buy one of these cameras.

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In Handheld Twilight mode, the camera captures up to 6 shots in rapid succession, micro-aligns them with each other, and then adds them all together. The net result is that you can hand-hold ridiculously long exposures and still get sharp results, with very low image noise to boot. About all you can control is whether to enable face detection AF or not. For those wanting the multi-shot advantages but with more creative control, Sony offers Multi-Frame Noise Reduction mode. This mode lets you select the ISO you want to use, but the camera micro-aligns and averages together six shots, significantly reducing ISO noise. You get the same basic capability as in Handheld Twilight mode, but retain full control over other exposure parameters.

The A33 and A55 let you shoot panoramas with the camera held either vertically or horizontally. With the camera held in landscape orientation, panoramas are 8,192 x 1,856 pixels.

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If Handheld Twilight and Multi-Frame NR modes are practical, Sweep Panorama is just plain fun. The powerful Bionz image-processing engine examines all these images, takes slices from each, applies geometric and tonal corrections to each slice, and then stitches them together into a single panoramic image. The results are stunning, and experimenting is loads of fun. The slight "stuttering" above left in a shot from the Sony A55 is typical of the mild errors that sometimes occur: Pretty unobtrusive, unless you really zoom in to pixel-peep. More dramatic errors like the crop from an A560 panorama seen above right were fairly rare in my experience. Sweep Panorama mode makes shooting panoramas easy, but not entirely brainless: It often takes me a few tries to get just the shot I want. Sony has come up with a clever way of capturing 3D images using the same "sweep" technology as in their normal 2D panoramas.

As the camera is swept across a scene, it will naturally see various parts of the subject from slightly different angles at different points along its sweep. If you have a 3D-capable Sony television to view them on, capturing 3D images can definitely be entertaining. Auto HDR modes use three quick shots to cover an amazing tonal range. HDR photography increases the range of brightness values represented in a scene by combining two or more shots taken at different exposures, combining highlight detail from some and shadow detail from others.

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In the past, this has involved locking the camera down on a tripod, shooting several images at different exposures, and then working on a computer to combine them. Lately, though, the capability to do this directly in-camera has been appearing from a number of manufacturers, with varying levels of success. The auto HDR feature on the Sony A33 works pretty well, since the camera does the same micro-alignment trick it uses for its other multi-shot features.

Options for HDR include an Auto setting, where the camera determines how much of the effect to apply, and manual settings ranging from 1 to 6(! On the other hand, there are times when nothing else will do. With an auto-HDR option, I often find myself trying it, but also shooting a normally exposed shot as well. I more often like the normal shot, but sometimes the HDR one is the keeper. DRO defaults to the Auto setting on the Sony A33 and A55, and most times I checked, I liked the tonal balance of photos shot that way over that those with DRO turned off. Because phase-detect AF actually measures the amount of mis-focus, it can command the lens to go directly to the correct focus setting, without "hunting" back and forth. By comparison, contrast-detect AF has to try different focus settings one after another, checking to see whether each amounted to better or worse focus than the one that preceded it. Have a look at the video above left which shows pretty fast, sure-footed focus when the subject is changed.

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While it tracks action very well, focus actuation with the kit lens is far from silent: In anything but a very loud environment, the "chock... I experienced this with the NEX-5 as well, and it honestly seems like a bug to me. This shot turned out well at -0. Under bright sunlight, I was generally shooting with -0. Looking at my photos on the computer later, it seemed that many of them really could have used -0. The overexposure bias seemed fairly

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