Why The Sony Alpha DSLR-A850 Needs Special Coverage

DAVID B
SONY α D ®
GUIDE TO DIGITAL
David D. Busch | A
Course Tech
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BUSCH’S
DSLR-A850
L PHOTOGRAPHY
Alexander S. White
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David Busch’s Sony® α DSLR-A850 © 2011 David D
Guide to Digital Photography
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Acknowledgments
Once again, thanks to the folks at Course Technolo
lishing digital imaging books in full color at a price
to executive editor Kevin Harreld, who always give
nation run free with a topic, as well as my veteran p
editor, Jenny Davidson and technical editor, M
Hartman, layout; Katherine Stimson, indexing; S
Tanamachi, cover design; and my agent, Carole Jele
keep both publishers and authors happy.
ogy PTR, who have pioneered pub-
e anyone can afford. Special thanks
es me the freedom to let my imagi-
production team, including project
Mike Sullivan. Also thanks to Bill
Sara Gullion, proofreading; Mike
en, who has the amazing ability to
About the Authors
With more than a million books in
authors of books on digital photogr
popular series like David Busch’s Pr
has written 13 hugely successful gu
including the all-time #1 best-sellers
for other camera models, as well as
Mastering Digital SLR Photography,
ing photojournalist for more than 2
and newspaper reports with award-
studio, suffocated in formal dress w
a daily newspaper and upstate New
Popular Photography & Imaging, The
dreds of other publications. He’s als
Computer Shopper.
When About.com named its top fiv
ing at the #1 and #2 slots were Bu
for Dummies and Mastering Digital
as five of his books listed in the To
seller list—simultaneously! Busch’s
best-sellers like David Busch’s Quick
Busch is a member of the Clevelan
which has operated continuously si
Visit his website at http://www.dslr
Alexander S. White is an attorney

author of David Busch’s Canon Pow
author of Photographer’s Guide to
Compact Digital Camera and Daun
Guadalcanal. He began his life-long
fortunate enough to have his own d
also discovered the magic of Super-8
ing numerous amateur production
films and went on to major in Com
in Broadcasting and Film, before
University of Pennsylvania Law Sch
tains a family history website and co
lives near Richmond, Virginia, with
n print, David D. Busch is one of the best-selling
raphy and imaging technology, and the originator of
ro Secrets and David Busch’s Quick Snap Guides. He
uidebooks for Sony and other digital SLR models,
s for several different cameras, additional user guides
s many popular books devoted to dSLRs, including
Second Edition and Digital SLR Pro Secrets. As a rov-
20 years, he illustrated his books, magazine articles,
-winning images. He’s operated his own commercial
while shooting weddings-for-hire, and shot sports for
w York college. His photos have been published in
e Rangefinder, The Professional Photographer, and hun-
so reviewed dozens of digital cameras for CNet and
ve books on Beginning Digital Photography, debut-

usch’s Digital Photography All-In-One Desk Reference
Photography. During the past year, he’s had as many
op 20 of Amazon.com’s Digital Photography Best-
100-plus other books published since 1983 include
k Snap Guide to Using Digital SLR Lenses.
nd Photographic Society (www.clevelandphoto.org),
ince 1887.
rguides.com/blog.
y, writer, and amateur photographer. He is the co-

werShot G10/G11 Guide to Digital Photography, and
o the Leica D-Lux 4: Getting the Most from Leica’s
ntless Marine: Joseph Sailer Jr., Dive-Bombing Ace of
g interest in photography as a teenager, when he was
darkroom in his parents’ house in Philadelphia. He
8 cinematography, and coerced his friends into mak-
ns. He later ventured into the production of sound
mmunication at Stanford University, concentrating
serving in the U.S. Army and later attending the
hool. His other interests include genealogy; he main-
ontinues to do research into his family’s ancestry. He
h his wife, Clenise.
This page intenti
ionally left blank
Preface . . . . . . . . . . . . . . . . . . .
Introduction . . . . . . . . . . . . . .
Chapter 1
Getting Started with Y
Alpha DSLR-A850
Your Out-of-Box Experience. .
Initial Setup . . . . . . . . . . . . . .
Battery Included . . . . . . . .
Final Steps. . . . . . . . . . . . .
Formatting a Memory Card
Selecting a Shooting Mode . . .
Choosing a Metering Mode . .
Choosing a Focus Mode . . . . .
Selecting a Focus Point . . . . . .
Turning on SteadyShot . . . . . .
Other Settings . . . . . . . . . . . . .
Adjusting White Balance an
Using Exposure Compensat
Using the Self-Timer . . . . .
Reviewing the Images You’ve T
Transferring Photos to Your Co
Chapter 2
Sony Alpha DSLR-A8
Front View . . . . . . . . . . . . . . .
The Sony Alpha’s Business End
Going Topside. . . . . . . . . . . . .
Underneath Your Sony Alpha .
Contents
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv
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Your Sony
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nd ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
tion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
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Taken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
omputer. . . . . . . . . . . . . . . . . . . . . . . . . . . 26
850 Roadmap 29
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viii David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
Lens Components . . . . . . . . . . . . . . . . . . . . . .
LCD Panel Readouts. . . . . . . . . . . . . . . . . . . .
Looking Inside the Viewfinder . . . . . . . . . . . .
Chapter 3
Setting Up Your Sony Alpha DS
Anatomy of the Sony Alpha’s Menus . . . . . . .
Recording Menu 1/2/3/4 Options . . . . . . . . . .
Image Size . . . . . . . . . . . . . . . . . . . . . . . . .
Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . .
Quality . . . . . . . . . . . . . . . . . . . . . . . . . . .
D-Range Optimizer. . . . . . . . . . . . . . . . . .
Custom Button . . . . . . . . . . . . . . . . . . . . .
Creative Style . . . . . . . . . . . . . . . . . . . . . .
Color Space. . . . . . . . . . . . . . . . . . . . . . . .
Flash Mode . . . . . . . . . . . . . . . . . . . . . . . .
Flash Control . . . . . . . . . . . . . . . . . . . . . .
Flash Compensation . . . . . . . . . . . . . . . . .
Exposure Step . . . . . . . . . . . . . . . . . . . . . .
ISO Auto Range . . . . . . . . . . . . . . . . . . . .
AF-A Setup . . . . . . . . . . . . . . . . . . . . . . . .
AF Area . . . . . . . . . . . . . . . . . . . . . . . . . .
Priority Setup . . . . . . . . . . . . . . . . . . . . . .
AF Illuminator . . . . . . . . . . . . . . . . . . . . .
AF w/ Shutter . . . . . . . . . . . . . . . . . . . . . .
Long Exp. NR/High ISO NR . . . . . . . . . .
Memory . . . . . . . . . . . . . . . . . . . . . . . . . .
Rec Mode Reset . . . . . . . . . . . . . . . . . . . .
Custom Menu 1/2/3 Options . . . . . . . . . . . . .
AF/MF Button. . . . . . . . . . . . . . . . . . . . . .
AF/MF Control . . . . . . . . . . . . . . . . . . . . .
AF Drive Speed . . . . . . . . . . . . . . . . . . . . .
AF Area Display . . . . . . . . . . . . . . . . . . . .
Focus Hold Button . . . . . . . . . . . . . . . . . .
Auto Review . . . . . . . . . . . . . . . . . . . . . . .
Preview Function . . . . . . . . . . . . . . . . . . .
AEL Button. . . . . . . . . . . . . . . . . . . . . . . .
Ctrl Dial Setup . . . . . . . . . . . . . . . . . . . . .
otography
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SLR-A850 57
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Dial Exp. Comp . . . . . . . .
Ctrl Dial Lock. . . . . . . . . .
Button Ops. . . . . . . . . . . .
Release w/o Card . . . . . . .
Rec. Info. Disp. . . . . . . . . .
Exp. Comp. Set . . . . . . . . .
Bracket Order . . . . . . . . . .
Custom Reset . . . . . . . . . .
Playback Menu 1/2 Options . .
Delete . . . . . . . . . . . . . . . .
Format . . . . . . . . . . . . . . .
Protect . . . . . . . . . . . . . . .
DPOF Setup . . . . . . . . . . .
Playback Display. . . . . . . .
Slide Show . . . . . . . . . . . .
Setup Menu 1/2/3/4 Options . .
LCD Brightness. . . . . . . . .
Info. Disp. Time . . . . . . . .
Power Save . . . . . . . . . . . .
Video Output . . . . . . . . . .
HDMI Output . . . . . . . . .
Language . . . . . . . . . . . . .
Date/Time Setup . . . . . . . .
Memory Card . . . . . . . . . .
File Number . . . . . . . . . . .
Folder Name . . . . . . . . . . .
Select Folder/New Folder .
USB Connection . . . . . . . .
Mass Strg. Card . . . . . . . .
Menu Start . . . . . . . . . . . .
Delete Confirm. . . . . . . . .
Audio Signals . . . . . . . . . .
Cleaning Mode . . . . . . . . .
AF Micro Adj.. . . . . . . . . .
Focusing Screen. . . . . . . . .
APS-C Size Capture. . . . . .
Reset Default . . . . . . . . . .
Quick Navi Screen . . . . . . . . .
Settings on the Quick Navi
Contents ix
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Screen . . . . . . . . . . . . . . . . . . . . . . . . . . 104
x David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
Chapter 4
Getting the Right Exposure
Getting a Handle on Exposure . . . . . . . . . . . .
How the Sony Alpha Calculates Exposure . . .
Choosing a Metering Method . . . . . . . . . . . . .
Choosing an Exposure Method. . . . . . . . . . . .
Auto Mode . . . . . . . . . . . . . . . . . . . . . . . .
Program Auto Mode . . . . . . . . . . . . . . . . .
Aperture Priority. . . . . . . . . . . . . . . . . . . .
Shutter Priority . . . . . . . . . . . . . . . . . . . . .
Making Exposure Value Changes . . . . . . .
Manual Exposure . . . . . . . . . . . . . . . . . . .
Adjusting Exposure with ISO Settings. . . . . . .
Bracketing. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dealing with Noise . . . . . . . . . . . . . . . . . . . . .
Fixing Exposures with Histograms . . . . . . . . .
Adjusting Exposures with Intelligent Preview .
Chapter 5
Advanced Techniques for Your
Sony Alpha DSLR
Exploring Ultra-Fast Exposures . . . . . . . . . . .
Long Exposures . . . . . . . . . . . . . . . . . . . . . . .
Three Ways to Take Long Exposures . . . .
Working with Long Exposures . . . . . . . . .
Delayed Exposures . . . . . . . . . . . . . . . . . . . . .
Self-Timer . . . . . . . . . . . . . . . . . . . . . . . . .
Remote Control . . . . . . . . . . . . . . . . . . . . . . .
Time-Lapse/Interval Photography . . . . . . . . . .
Getting into Focus . . . . . . . . . . . . . . . . . . . . .
Phase Detection. . . . . . . . . . . . . . . . . . . . .
Contrast Detection . . . . . . . . . . . . . . . . . .
Focus Modes. . . . . . . . . . . . . . . . . . . . . . .
otography
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Focus Pocus . . . . . . . . . . . . . .
Adding Circles of Confusio
Making Sense of Focus Sens
Your Autofocus Mode Opti
Setting the AF Area . . . . . .
Fine-Tuning the Focus of Your
Lens Tune-Up . . . . . . . . . . . . .
Continuous Shooting . . . . . . .
Setting Image Parameters . . . .
Customizing White Balance
Setting White Balance by C
Setting a Custom White Bal
Image Processing. . . . . . . . . . .
D-Range Optimizer. . . . . .
Using Creative Styles. . . . .
Chapter 6
Working with Lenses
Don’t Forget the Crop Factor .
Do You Need a “Cropped”
Your First Lenses . . . . . . . . . .
Buy Now, Expand Later . .
Your Second (and Third…) Len
Sony’s Alpha-bet Soup . . .
What Lenses Can Do for Yo
Zoom or Prime? . . . . . . . .
Categories of Lenses . . . . . . . .
Using Wide-Angle and Wide-Zo
Avoiding Potential Wide-An
Using Telephoto and Tele-Zoom
Avoiding Telephoto Lens Pr
Telephotos and Bokeh . . . .
Add-ons and Special Features .
Lens Hoods. . . . . . . . . . . .
Telephoto Extenders . . . . .
Macro Focusing . . . . . . . .
SteadyShot and Your Lense
Contents xi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
sors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Lenses. . . . . . . . . . . . . . . . . . . . . . . . . . . 169
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Color Temperature . . . . . . . . . . . . . . . . . . 180
lance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
187
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
” Camera, Too? . . . . . . . . . . . . . . . . . . . . 191
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
ns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
ou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
oom Lenses . . . . . . . . . . . . . . . . . . . . . . . 200
ngle Problems . . . . . . . . . . . . . . . . . . . . . 202
m Lenses . . . . . . . . . . . . . . . . . . . . . . . . . 204
roblems . . . . . . . . . . . . . . . . . . . . . . . . . . 206
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
xii David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
Chapter 7
Making Light Work for You
The Elements of Light . . . . . . . . . . . . . . . . . . .
Continuous Lighting—or Electronic Flash?. . .
Continuous Lighting Basics. . . . . . . . . . . . . . .
Daylight . . . . . . . . . . . . . . . . . . . . . . . . . .
Incandescent/Tungsten Light . . . . . . . . . . .
Fluorescent Light/Other Light Sources . . .
Adjusting White Balance . . . . . . . . . . . . . .
Electronic Flash Basics . . . . . . . . . . . . . . . . . .
How Electronic Flash Works. . . . . . . . . . .
Using the External Electronic Flash. . . . . . . . .
HVL-F58AM Flash Unit . . . . . . . . . . . . . .
Setting Flash Exposure Compensation . . .
Setting Flash Mode . . . . . . . . . . . . . . . . . .
More Advanced Lighting Techniques . . . . . . .
Diffusing and Softening the Light . . . . . . .
Using Multiple Light Sources . . . . . . . . . .
Other Lighting Accessories . . . . . . . . . . . .
Chapter 8
Downloading and Editing Your
What’s in the Box? . . . . . . . . . . . . . . . . . . . . .
Picture Motion Browser . . . . . . . . . . . . . .
Image Data Lightbox SR. . . . . . . . . . . . . .
Remote Camera Control . . . . . . . . . . . . . .
Image Data Converter SR . . . . . . . . . . . . .
Transferring Your Photos . . . . . . . . . . . . . . . .
Using a Card Reader and Software . . . . . .
Dragging and Dropping . . . . . . . . . . . . . .
Editing Your Photos . . . . . . . . . . . . . . . . . . . .
Image Editors . . . . . . . . . . . . . . . . . . . . . .
RAW Utilities . . . . . . . . . . . . . . . . . . . . . .
otography
213
. . . . . . . . . . . . . . . . . . . . . 214
. . . . . . . . . . . . . . . . . . . . . 215
. . . . . . . . . . . . . . . . . . . . . 221
. . . . . . . . . . . . . . . . . . . . . 222
. . . . . . . . . . . . . . . . . . . . . 222
. . . . . . . . . . . . . . . . . . . . . 224
. . . . . . . . . . . . . . . . . . . . . 225
. . . . . . . . . . . . . . . . . . . . . 225
. . . . . . . . . . . . . . . . . . . . . 226
. . . . . . . . . . . . . . . . . . . . . 232
. . . . . . . . . . . . . . . . . . . . . 232
. . . . . . . . . . . . . . . . . . . . . 235
. . . . . . . . . . . . . . . . . . . . . 235
. . . . . . . . . . . . . . . . . . . . . 235
. . . . . . . . . . . . . . . . . . . . . 236
. . . . . . . . . . . . . . . . . . . . . 237
. . . . . . . . . . . . . . . . . . . . . 237
. . . . . . . . . . . . . . . . . . . . . 239
. . . . . . . . . . . . . . . . . . . . . 241
. . . . . . . . . . . . . . . . . . . . . 243
r Images 245
. . . . . . . . . . . . . . . . . . . . . 245
. . . . . . . . . . . . . . . . . . . . . 246
. . . . . . . . . . . . . . . . . . . . . 248
. . . . . . . . . . . . . . . . . . . . . 249
. . . . . . . . . . . . . . . . . . . . . 250
. . . . . . . . . . . . . . . . . . . . . 252
. . . . . . . . . . . . . . . . . . . . . 252
. . . . . . . . . . . . . . . . . . . . . 254
. . . . . . . . . . . . . . . . . . . . . 255
. . . . . . . . . . . . . . . . . . . . . 255
. . . . . . . . . . . . . . . . . . . . . 256
Chapter 9
Sony Alpha DSLR-A8
and Prevention
Update Your Firmware . . . . . .
Protect Your LCD . . . . . . . . . .
Troubleshooting Memory Card
All Your Eggs in One Baske
Preventive Measures . . . . .
What Can Go Wrong? . . .
What Can You Do?. . . . . .
Clean Your Sensor . . . . . . . . .
Dust the FAQs, Ma’am. . .
Identifying and Dealing wit
Avoiding Dust . . . . . . . . . .
Sensor Cleaning . . . . . . . .
Glossary
Index
Contents xiii
850: Troubleshooting
261
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
ds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
et? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
th Stubborn Dust . . . . . . . . . . . . . . . . . . . 273
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
285
297
Preface
You don’t want good pictures from your new Sony
outstanding photos. After all, this Alpha model is
professional cameras that Sony has ever introduced.
an amazing 24 megapixels of resolution, blazing fa
shake features to provide sharp images, and dozens o
But your gateway to pixel proficiency is dragged dow
in the box as a manual. You know everything you ne
but you don’t know where to start. In addition, the
information on photography or digital photograph
ing hours or days studying a comprehensive book
doesn’t necessarily apply directly to your Alpha.
What you need is a guide that explains the purpose
basic controls, how you should use them, and why. I
about file formats, resolution, aperture/priority expo
available, but you’d prefer to read about those topic
to go out and take a few hundred great pictures with
a book that summarizes the most important inform
ters, with lots of full-color illustrations showing wh
you use this setting or that?
Now there is such a book. If you want a quick intr
trols, flash synchronization options, how to choose le
best, this book is for you. If you can’t decide on w
camera because you can’t figure out how changing ISO
will affect your pictures, you need this guide.
Alpha DSLR-A850—you demand
s one of the most advanced semi-
. It’s a full-frame camera that boasts
ast automatic focus, powerful anti-
of advanced customization options.
wn by the slim little book included
eed to know is in there, somewhere,
camera manual doesn’t offer much
hy. Nor are you interested in spend-
k on digital SLR photography that
e and function of the Alpha A850’s

Ideally, there should be information
osure, and special autofocus modes
cs only after you’ve had the chance
h your new camera. Why isn’t there
mation in its first two or three chap-
hat your results will look like when
roduction to the Alpha’s focus con-

enses, or which exposure modes are
what basic settings to use with your
O or white balance or focus defaults
Sony has done it again! The most
affordable, extra-high-resolution fu
time I write this, Sony’s nearest full
at nearly $8,000 (without a lens!)—
less than one-quarter that amount.
In the Alpha A850, Sony has packa
tal SLRs and stuffed them into a ru
use that Alpha cameras are known f
ital photography. For those just dip
is warm and inviting, even though
SLRs on the market. This is a dSLR
But once you’ve confirmed that you
up, how do I use this thing? All thos
you have as a guide is the manual fu
cerely believe that this book is your
and for learning how to use it well.
If you’re a Sony Alpha dSLR owner
great camera, you’ve probably alre
online tutorials—but who can learn
sion or computer screen? Do you w
do you want to go out and take ph
best answer.
There’s always the manual furnished
mation, but there’s really very little
tures, and its organization may m
cross-references may send you flipp
the book to find what you want to
and-white line drawings and tiny m
of what you can do.
Introduction
demanding photographers have been asking for an
ull-frame camera, and Sony has delivered it. At the
l-frame competitor with similar resolution is priced
—yet this camera can be purchased (body only) for
aged up the most alluring features of advanced digi-

ugged, yet still compact, body that retains the ease of
for. It smoothes the transition for those new to dig-
pping their toes into the digital pond, the experience
the camera is one of the most sophisticated digital
R for the thinking photographer.
u made a wise purchase decision, the question comes
se cool features can be mind numbing to learn, if all
urnished with the camera. Help is on the way. I sin-
r best bet for learning how to use your new camera,
.
r who’s looking to learn more about how to use this
eady explored your options. There are DVDs and
n how to use a camera by sitting in front of a televi-
want to watch a movie or click on HTML links, or
hotos with your camera? Videos are fun, but not the
d with the Alpha. It’s compact and filled with infor-

about why you should use particular settings or fea-
make it difficult to find what you need. Multiple
ping back and forth between two or three sections of
o know. The basic manual is also hobbled by black-
monochrome pictures that aren’t very good examples
xvi David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
Also available are third-party guides to the Alpha, l

with some of these guidebooks, which is why I wrote
from skimpy and illustrated with black-and-white
color but too generic to do much good. Photograph
to be related directly to the Sony Alpha dSLR as mu
I’ve tried to make David Busch’s Sony Alpha DSLR-A
different from your other Alpha learn-up options. Th
pictures to show you where all the buttons and dial
they do are longer and more comprehensive. I’ve tr
including the two-page checklists on how to take a
ture” or a “travel picture.” Instead, you’ll find tips a
tures of your Sony Alpha dSLR to take any kind o
know where you should stand to take a picture o
unleash a pass, there are plenty of books that will te
on teaching you how to select the best autofocus m
capability to take, say, a great sports picture under a
This book is not a lame rewriting of the manual that
spend five minutes with a book like this one, spot s
in the original manual, and decide “Rehash!” witho
ences. Yes, you’ll find information here that is also
parameters you can enter when changing your Alph
Basic descriptions—before I dig in and start providin
may also be vaguely similar. There are only so man
“Hold the shutter release down halfway to lock in e
manual is included in this book. If you need advice
important functions, you’ll find the information he
David Busch’s Sony Alpha DSLR-A850 Guide to Di
Sony dSLR veterans as well as newcomers to digital p
groups can be overwhelmed by the options the Alp
the explanations they receive in their user’s manual. T
know what you don’t know, and you can find an
arranged by menu listings and written by a camera
together instructions on how to operate a camcorde
otography
like this one. I haven’t been happy

e this one. The existing books range
photos to lushly illustrated in full
hy instruction is useful, but it needs
uch as possible.
A850 Guide to Digital Photography
he roadmap sections use larger, color
ls are, and the explanations of what
ried to avoid overly general advice,
a “sports picture” or a “portrait pic-
and techniques for using all the fea-
of picture you want. If you want to
of a quarterback dropping back to
ell you that. This one concentrates
mode, shutter speed, f/stop, or flash
any conditions.
t came with the camera. Some folks
some information that also appears
out really understanding the differ-
in the owner’s manual, such as the
ha’s operation in the various menus.
ng in-depth tips and information—
ny ways you can say, for example,
exposure.” But not everything in the
e on when and how to use the most
ere.
igital Photography is aimed at both
photography and digital SLRs. Both
pha offers, while underwhelmed by
The manuals are great if you already
n answer somewhere in a booklet
a vendor employee who last threw
er.
Once you’ve read this book and are
other guides to digital SLR pho
Technology PTR, each approaching
the following:
Quick Snap Guide to Digital SLR
Consider this a prequel to the book
gift for a spouse or friend who ma
knowledge about digital photograp
tography. It serves as an introductio
cameras in general (not just the Alp
tinuous autofocus/single autofocus,
The guide also includes recipes for
step-by-step instructions for capturi
other types of images.
David Busch’s Quick Snap Guide
A bit overwhelmed by the features a
when to use each type? This book ex
to-access two- and four-page spread
of-field, lens aberrations, or using z
who is less versed in photography, b
dSLR from time to time, this book
Mastering Digital SLR Photograp
This book is an introduction to di
nations of the technology, more in
the most common types of photogr
show you how to get more from its
Digital SLR Pro Secrets
This is my more advanced guide to
about the topics you’re most inter
Mastering Digital SLR Photography,
Introduction xvii
e ready to learn more, I hope you pick up one of my

otography. Four of them are offered by Course
g the topic from a different perspective. They include
R Photography
k you’re holding in your hands. It might make a good
ay be using your Alpha, but who lacks even basic
phy, digital SLR photography, and Sony Alpha pho-
on that summarizes the basic features of digital SLR
pha), and what settings to use and when, such as con-
, aperture/shutter priority, EV settings, and so forth.
shooting the most common kinds of pictures, with
ing effective sports photos, portraits, landscapes, and
e to Using Digital SLR Lenses

and controls of digital SLR lenses, and not quite sure
xplains lenses, their use, and lens technology in easy-
ds, each devoted to a different topic, such as depth-
zoom lenses. If you have a friend or significant other
but who wants to borrow and use your Sony Alpha
k can save you a ton of explanation.
phy, Second Edition
igital SLR photography, with nuts-and-bolts expla-
n-depth coverage of settings, and whole chapters on
raphy. While not specific to the Alpha, this book can
s capabilities.
o dSLR photography with greater depth and detail

rested in. If you’ve already mastered the basics in
, this book will take you to the next level.
xviii David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
Why the Sony Alpha DSLR-A85

Needs Special Coverage
There are many general digital photography books
trate on books about specific digital SLRs like the A
tal photography books in 1995, digital SLRs cost $
certain professionals could justify them. Most of my r
using the point-and-shoot, low-resolution digital cam
advanced photographers. I took tons of digital pict
with 1024 × 768 (less than 1 megapixel!) resolution
As recently as 2003 (years before the original Alph
introduced), the lowest-cost dSLRs were priced at $3
a little less than $2,000 can buy one of the most ad
market, a full-frame model with 24 megapixels of re
digital SLR is no longer the exclusive bailiwick of t
wealthy, or the serious photography addict willing to
camera. Digital SLRs have become the favored cam
beyond point-and-shoot capabilities. And Sony cam
preceded them) have enjoyed a favored position am
innovation in introducing affordable cameras w
SteadyShot image stabilization, and outstanding per
also provides both full-frame cameras and smaller
migration path between them (if you stick to the So
both).
Who Are You?

When preparing a guidebook for a specific camera,
who will be reading the book. Indeed, thinking abou
Busch’s Sony Alpha DSLR-A850 Guide to Digital Ph
the approach and format I use for this book. I realize
had to be addressed both from a functional level (
DSLR-A850 for) as well as from a skill level (how m
digital photography, dSLRs, or Sony cameras specif
From a functional level, you probably fall into one o
■ Professional photographers who understand phot
ply want to learn how to use the Sony Alpha DS
■ Individuals who want to get better pictures, or
interest in photography into a full-fledged hobby
and advanced techniques.
otography
50
on the market. Why do I concen-

Alpha? When I started writing digi-
$30,000 and few people other than
readers a dozen years ago were stuck
meras of the time—even if they were
tures with an Epson digital camera
n, and which cost $500.
ha or its Minolta predecessors were
3,000 or more. Today, anyone with
dvanced digital SLR cameras on the
resolution. The professional-quality
the professional photographer, the
o scrimp and save to acquire a dream
mera for anyone who wants to go
meras (and the Minolta models that
mong digital SLRs because of Sony’s
with interesting features, such as
rformance. It doesn’t hurt that Sony
format digital cameras and a clear
ony lenses that are compatible with
, it’s always wise to consider exactly

ut the potential audience for David
hotography is what led me to taking
ed that the needs of readers like you
(what you will use the Sony Alpha
much experience you may have with
fically).
of these categories:
tography and digital SLRs, and sim-
SLR-A850 as their main camera.
r perhaps transform their growing
y or artistic outlet with a Sony Alpha
■ Those who want to produce mo
business website, and feel that
capabilities.
■ Small business owners with mo
the Sony Alpha DSLR-A850 to
■ Corporate workers who may or
tions, but who work regularly
images taken with a Sony Alph
■ Professional webmasters with
JavaScript, HTML, Perl, etc.) b
ize that the Sony Alpha can be
■ Graphic artists and others w
Photoshop or another program
need to learn more about digi
Sony dSLR.
Addressing your needs from a skills
is such a great camera that a full sp
few brave absolute beginners who h
professional with years of shooting e
to-day working tool.
Before tackling this book, it would
■ What a digital SLR is: It’s a c
view of the picture that’s being
ally takes the photo, thanks to
flips up out of the way to allow
■ How digital photography di
(which I call the first write-once
can be transferred to your comp
out the need for chemical proc
■ What the basic tools of correc
these; I’ll explain them later in t
shutter speed, aperture, and IS
you’ll soon learn that shutter s
exposed to incoming light; the
quantity of light that can flow
ting) controls how easily the se
ied individually and proportion
(neither too light nor too dark)
Introduction xix
ore professional-looking images for their personal or

t the Sony Alpha will give them more control and
ore advanced graphics capabilities who want to use

o document or promote their business.
may not have photographic skills in their job descrip-
with graphics and need to learn how to use digital
ha for reports, presentations, or other applications.
h strong skills in programming (including Java,
but little background in photography, but who real-
used for sophisticated photography.
who already may be adept in image editing with
m, and who may already be using a film SLR, but who
ital photography and the special capabilities of the
s level can be a little trickier, because the Sony Alpha

pectrum of photographers will be buying it, from a
have never owned a digital camera before up to the
experience who will be using the Sony Alpha as day-
d be helpful for you to understand the following:

camera that generally shows an optical (not LCD)
taken through the (interchangeable) lens that actu-
a mirror that reflects an image to a viewfinder, but
w the sensor to be exposed.
iffers from film: The image is stored not on film
e optical media), but on a memory card as pixels that
puter, and then edited, corrected, and printed with-
cessing.
ct exposure are: Don’t worry if you don’t understand
this book. But if you already know something about
SO sensitivity, you’ll be ahead of the game. If not,
speed determines the amount of time the sensor is
e f/stop or aperture is like a valve that governs the
w through the lens; the sensor’s sensitivity (ISO set-
ensor responds to light. All three factors can be var-
nately to produce a picture that is properly exposed
).
xx David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
It’s tough to provide something for everybody, but I a

of each of the following groups and skill levels:
■ Digital photography newbies: If you’ve used
eras, or have worked only with non-SLR film c
for selecting one of the very best digital SLRs a
This book can help you understand the control
and lead you down the path to better photogra
all the information you need, but if you want
extra credit, you can also try one of the other bo
plement this book well.
■ Advanced point-and-shooters moving on up:
pocket-sized digital cameras available, includin
options and settings, so it’s possible you are alrea
even though you’re new to the world of the digi
itations of the point-and-shoot camera: even th
higher sensitivity (ISO) settings than a camera
still have an unacceptable delay between the tim
the photo is actually taken; even a non-interch
12X to 20X magnification often won’t focus clos
able for low-light photography, or take in the
Interchangeable lenses and other accessories avail
one of the reasons you moved up. Because you’re
should pick up the finer points of using the So
trouble.
■ Film SLR veterans new to the digital world:
know about f/stops and shutter speeds, and thriv
have used a newer film SLR, it probably has
including autofocus and sophisticated exposure
using a Minolta film SLR (a distant predecessor
the same lens system) and understand many of
with both film and digital cameras. All you nee
specific features, working with the Sony Alph
exceed—the capabilities of your film camera w
A850.
■ Experienced dSLR users broadening their exp
DSLR-A850: Perhaps you started out with ano
tal SLR. You may have used a digital SLR from a
switch. You understand basic photography, and
all, you want to transfer the skills you already h
and seamlessly as possible.
otography
am going to try to address the needs
only point-and-shoot digital cam-

cameras, you’re to be congratulated
available as your first dSLR camera.
ls and features of your Sony Alpha,
aphy with your camera. I’ll provide
to do some additional reading for
ooks I mentioned earlier. They com-
: There are some quite sophisticated

ng those with many user-definable
ady a knowledgeable photographer,
ital SLR. You’ve recognized the lim-
he best of them have more noise at
like the Sony Alpha; the speediest
me you press the shutter and when
hangeable super-zoom camera with
se enough, include an aperture suit-
e really wide view you must have.
lable for the Sony Alpha are another
e an avid photographer already, you
ony Alpha from this book with no
You understand photography, you

ve on interchangeable lenses. If you
lots of electronic features already,
metering. Perhaps you’ve even been
r of the current Alphas, which used
f the available accessories that work
ed is information on using digital-
ha itself, and how to match—and
with your new Sony Alpha DSLR-
perience to include the Sony Alpha

other Sony or Konica Minolta digi-
another vendor and are making the
d want to learn more. And, most of
have to the Sony Alpha, as quickly
■ Pro photographers and other
readers will be those who alrea
dSLR cameras. I may not be ab
even so, an amazing number o
chased by those who feel it is a
Who Am I?
After spending years as the world’s m
less obscure in the past few years, t
photographically oriented tomes. Yo
Photography & Imaging magazine. I
like Petersen’s PhotoGraphic (which
The Rangefinder, Professional Photog
tions. But, first, and foremost, I’m
until I began devoting most of my
happiest when I’m out taking pictu
taken off chunks of time to travel to
area and Grand Canyon in Arizona
few days, Las Vegas (although I di
The past year also saw me visiting P
shoot in Valencia, Spain. You’ll fin
pages of this book.
Like all my digital photography boo
able photography bug. One of my
pany whose technology was eventua
newer models since then. I’ve work
and for an upstate New York colle
photo lab, cranking out product sh
glossy 8 × 10s on a tight deadline f
tor for a modeling agency. People h
immortalize them with portraits. I e
as a PR consultant for a large Roch
My trials and travails with imaging
print in book form an alarming nu
and photography.
Like you, I love photography for its
tool to help me get the images I see
ter this technology before I could a
I’ve learned, and I hope it will help
Introduction xxi
r advanced shooters: I expect my most discerning

ady have extensive experience with other advanced
ble to teach you folks much about photography. But,
of Sony Alpha DSLR-A850 cameras have been pur-
a good complement to their working toolkit.
most successful unknown author, I’ve become slightly

thanks to a horde of camera guidebooks and other
ou may have seen my photography articles in Popular
I’ve also written about 2,000 articles for magazines
is now defunct through no fault of my own), plus
grapher, and dozens of other photographic publica-
m a photojournalist and made my living in the field
time to writing books. Although I love writing, I’m
ures, which is why during the past 12 months I’ve
o Zion National Park in Utah, the Sedona “red rocks”
a, Major League Baseball Spring training, and, for a
id a lot more shooting than gambling in Sin City).
Prague in the Czech Republic, and taking a week to
nd photos of many of these visual treats within the
oks, this one was written by someone with an incur-

first SLRs was a Minolta SRT-101, from the com-
ally absorbed by Sony in 2006. I’ve used a variety of
ked as a sports photographer for an Ohio newspaper
ege. I’ve operated my own commercial studio and
hots on demand and then printing a few hundred
for a press kit. I’ve served as a photo-posing instruc-
have actually paid me to shoot their weddings and
even prepared press kits and articles on photography
hester, N.Y., company, which shall remain nameless.
and computer technology have made their way into
umber of times, including a few dozen on scanners
s own merits, and I view technology as just another

e in my mind’s eye. But, also like you, I had to mas-
apply it to my work. This book is the result of what
p you master your Alpha digital SLR, too.
xxii David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
As I write this, I’m currently in the throes of upgradi

at www.dslrguides.com/blog. I hope you’ll stop by f
Meet My Co-Author, Alex

I am very happy and grateful to have, with this book
ond foray into the “big leagues” of digital photograp
had a love affair with photography since the 1960s
parents allowed me to set up a very smelly dar
Philadelphia home. I was entranced by the process
plastic spool, sealing it in a tank, and later placin
enlarger to produce what to me seemed like great w
who have long memories or a love of older movies, I
that sparked my love of the darkroom was the terrific
deepened the mystique of enlarging at leisure an im
and film in an instant, and that may hold the key to
tery. I ventured into amateur cinematography and
director, but I’m afraid my Super-8 productions fell
Later, after studying broadcasting and film at Stan
service for a few years, and I guess it was my more p
school, like several family members before me. But
and filmmaking through the transitions to digital p
a wide array of equipment, and have been continual
tication of the cameras that have become available in
Leica D-Lux 4 in 2009, I was so impressed by the ca
a book about its use. No one asked me to write that b
of that book, though, I was asked to help David wri
PowerShot G10/G11 cameras. We both enjoyed w
decided to collaborate on this Sony book as well.
another opportunity to share some of my love of p
cameras with a wider audience.
otography
ing my website, which you can find

for a visit.
k, the opportunity to make my sec-

phy guidebooks. Like David, I have
s, when, as a teenager, my tolerant
rkroom in the basement of their
of rolling the exposed film onto a
ng the developed negatives into an
works of photographic art. For those
I must say that one strong influence
c film Blow-up by Antonioni, which
mage that was captured by the lens
o an intriguing and disturbing mys-
tried my best to emulate the great
l a few lightyears short.
nford, I got sidetracked by military
practical side that guided me to law
t I have kept up with photography
photography and video. I have used
lly amazed at the increasing sophis-
n recent years. Finally, when I got a
amera that I felt compelled to write
book; I just wanted to do it. Because
ite his previous book on the Canon
working together so much that we
. I am immensely pleased to have
photography and of modern digital
Getting Sta
Sony Alp
I once read a camera guide that be
resist the temptation to go out and
been spent Setting Up The Camera
were doomed to failure if the arcane
n’t first absorbed. What universe wa
Relax! I fully expect that you took se
you ever cracked the cover of this
Sony Alpha DSLR-A850 happens t
camera, even for a newcomer to digi
era owner, can rotate the mode dial
ing great pictures. Getting to that p
inserting a Compact Flash or Memo
science, either. Sony has cleverly ma
viewfinder window) with large On
that is carefully calculated to encoun
as he or she lifts this nicely balanced
So, budding photographers are like
revved up and working well enoug
collapsing. Eventually, though, man
can do an even better job with a lit
Second, I know that many of you
camera, such as the Alpha DSLR-A
1
arted with Your
pha DSLR-A850
egan with the author advising the Gentle Reader to
d take pictures until the proper amount of time had
a, apparently to avoid wasting electrons on shots that
e operational knowledge that was forthcoming was-
as he from?
everal hundred or a thousand (or two) photos before
book—for several reasons. First, and foremost, the
to be remarkably easy to use for such a sophisticated
ital photography. Anyone, including the newest cam-
to the aqua Auto position and go out and begin tak-
point by charging the battery, mounting a lens, and
ory Stick PRO Duo memory card isn’t exactly rocket
arked the power switch (located just to the left of the
and Off labels, and the shutter button lies in a spot
nter the right index finger of the camera’s new owner
d apparatus to eye-level for some experimental shots.
ely to muddle their way through getting the camera
gh to take a bunch of pictures without the universe
ny may turn to this book when they realize that they
ttle guidance.
will be previous owners of the predecessors of this
A700, or one of the earlier Minolta models, such as
2 David Busch’s Sony Alpha DSLR-A850 Guide to Digital Pho
the Maxxum 7D. Many of the basic operations of th

those of the older models. So, veteran Sony/Konica-
out, shoot first, and ask questions later.
Finally, I realize that most of you didn’t buy this boo
your Sony Alpha. As much as I’d like to picture thous
ing out of their camera stores with an Alpha box und
I know that’s not going to happen all the time. A lar
for a week, or two, or a month, became comfortable
in order to learn more. So, a chapter on “setup” seem
In practice, though, it’s not a bad idea, once you’ve ta
your camera, to go back and review the basic operat
ning, if only to see if you’ve missed something. This c
the setup procedures for the camera for those among
and to help ease the more timid (and those who hav
before) into the basic preflight checklist that needs
spread your wings and take off. For the uninitiated
Sony Alpha DSLR-A850 does have lots of dials, bu
make sense at first, but will surely become second n
review the instructions in this chapter.
But don’t fret about wading through a manual to fin
those first few tentative snaps. I’m going to help you
chapter (or keep on running if you’ve already jump
opportunity to use your Alpha yet, I’ll help you set u
in minutes. You won’t find a lot of detail in this cha
just what you absolutely must understand, accompan
will help you become acclimated. I’ll go into more d
I explain here in later chapters, so you don’t have to
relax, follow a few easy steps, and then go out and b
Your Out-of-Box Experience

Your Sony Alpha DSLR-A850 comes in an impress
connecting cords, booklets, a CD, and miscellaneous
such matters. The most important components are t
and, if you’re the nervous type, the neck strap. Yo
Memory Stick PRO Duo card, as one is not included
a camera shop, as I did, the store personnel probab
ran through some basic operational advice that you’v
a Compact Flash card, and then, after they’d given
sent you on your way with a handshake. The lens is a
otography
his new camera are quite similar to

-Minolta dSLR owners can venture
ok at the same time you purchased

sands of avid photographers march-
der one arm, and my book in hand,
rge number of you had your camera
e with it, and sought out this book
ms like too little, too late, doesn’t it?
aken a few orientation pictures with
tions of the camera from the begin-
chapter is my opportunity to review
g you who are already veteran users,
ve never worked with a digital SLR
s to be completed before you really
d, as easy as it is to use initially, the
uttons, and settings that might not
nature after you’ve had a chance to
nd out what you must know to take

u hit the ground running with this
ped right in). If you haven’t had the
up your camera and begin shooting
apter. Indeed, I’m going to tell you
nied by some interesting tidbits that
depth and even repeat some of what
o memorize everything you see. Just
begin taking your best shots—ever.
sive box filled with stuff, including

s information about registration and
the camera, battery, battery charger,
ou’ll also need a Compact Flash or
d. If you purchased your Alpha from
bly attached the neck strap for you,
ve already forgotten, tried to sell you
you all the help you could absorb,
a pretty important component also,
Chapt
but, with a camera like this, the len

own assortment of pamphlets and a
Perhaps you purchased your Sony A
sell washing machines and vacuum
your way with only the handshake
pressure efforts to sell you an exten
stores, but you don’t get the person
your choice. There’s a third alternat
era from a mail order or Internet s
purple/red) truck. Your only interac
to scrawl your signature on an elect
In all three cases, the first thing to d
the contents with the checklist that
plete form) on page 13 of the user’s
as superfluous as the instructions on
always a good idea. No matter who
ticular camera for a demonstration
pieces and parts afterwards. Someo
camera on your behalf—and then m
thing is missing so you can seek red
from now that the video cable you
never in the box.
So, check the box at your earliest c
following:
■ Sony Alpha DSLR-A850 came
son you laid out the big bucks,
lope you should save in case the
without saying that you should
color LCD on the back isn’t sc
card, battery, video cable, and
erly, and, when a charged batte
up and reports for duty. Out-of
happen. A more likely issue wo
perhaps, it was a customer retu
retailer you trust to supply a fa
■ Rubber eyecup. This slide-o
viewfinder when you receive
against the window, excluding e
you wear them) from scratchin
ter 1 ■ Getting Started with Your Sony Alpha DSLR-A850 3
ns is a separate purchase and gets its own box with its

accessories.
Alpha from one of those mass merchandisers that also
m cleaners. In that case, you might have been sent on
e, or, maybe, not even that if you resisted the high-
nded warranty. You save a few bucks at the big-box
nal service a professional photo retailer provides. It’s
tive, of course. You might have purchased your cam-
source, and your camera arrived in a big brown (or
ction when you took possession of your camera was
tronic clipboard.
do is carefully unpack the camera and double-check
t appears on one side of the box and (in more com-
’s manual. While this level of setup detail may seem
n a bottle of shampoo, checking the contents first is
sells a camera, it’s common to open boxes, use a par-
n, and then repack the box without replacing all the
one might actually have helpfully checked out your
mispacked the box. It’s better to know now that some-
dress immediately, rather than discover two months
u thought you’d never use (but now must have) was
convenience, and make sure you have (at least) the
era. This is hard to miss. The camera is the main rea-

and it is tucked away inside a nifty protective enve-
e Alpha needs to be sent in for repair. It almost goes
d check out the camera immediately, making sure the
cratched or cracked, the little doors for the memory
other input and output compartments open prop-
ery is inserted and lens mounted, the camera powers
f-the-box defects in these areas are rare, but they can
ould be that your dealer played with the camera or,
urn. That’s why it’s best to buy your Alpha from a
actory-fresh camera.
on soft-rubber eyecup should be attached to the
the camera. It helps you squeeze your eye tightly
extraneous light, and also protects your eyeglasses (if
ng.
■ Accessory shoe cover. This small cap fits snugly

most part of the camera, to protect it until you
the shoe. You should leave this cover in place w
in the shoe, to protect the shoe’s electrical conn
■ Body cap. The twist-off body cap keeps dust f
lens is mounted. Even though you can use the
when you need to, you’ll still want to keep the a
body cap belongs in your camera bag if you cont
lens removed.
■ Lens (if purchased). The Sony Alpha may be bu
as the Sony SAL-2875 28-75mm f/2.8 SAM C
lens will come with a lens cap on the front, and a
instruction pamphlet or sheet.
■ Battery pack NP-FM500H. The power source
separately. It should be charged as soon as possib
in the camera. It’s smart to have more than one
than $50, although the Sony list price is $69), s
your battery is discharged or, after many uses,
get this model number correct if you order a spa
ies with similar model numbers, but this is the
Sony Alpha DSLR-A850.
■ Battery charger BC-VM10. This battery charge
will be included. The charger functions strictly
into it; it does not act as an AC adapter, and it
battery is installed in the camera.
■ Shoulder strap. Sony provides you with a
emblazoned with Sony advertising. While I am
Sony camera, I never attach the factory strap t
a more serviceable strap from UPstrap (ww
(www.optechusa.com). If you carry your camer
particularly recommend UPstrap (shown in Fig
pad that offers reassuring traction and elimina
go through to keep the camera from slipping
who refuse to use anything else. If you do purch
tographer-inventor Al Stegmeyer that I sent yo
■ USB cable. This is a USB cable that can be used
puter, and it is especially useful when you need
a card reader handy.
otography
y on the accessory shoe at the top-

install a flash unit or other item in
whenever no attachment is installed
nections from damage or corrosion.
from entering the camera when no
e Alpha’s sensor cleaning procedure
amount of dust to a minimum. The
template the need to travel with the
undled with a compatible lens, such

Constant Aperture Zoom lens. The
a rear lens cap aft, along with a brief
e for your Sony Alpha is packaged

ble (as described next) and inserted
battery pack (they usually cost less
so you can continue shooting when
peters out entirely. Make sure you
are battery; there are several batter-
only model that will work in your
er and its accompanying power cord

y as a charger for a battery inserted
t cannot charge a battery while the
suitable neck or shoulder strap,

m justifiably proud of owning a fine
to my cameras, and instead opt for
ww.upstrap-pro.com) or Op-Tech
ra over one shoulder, as many do, I
gure 1.1). It has a patented non-slip
ates the contortions we sometimes
off. I know several photographers
hase an UPstrap, be sure to tell pho-
ou hence.
d to link your Sony Alpha to a com-
d to transfer pictures but don’t have
Chapt
Figure 1.1 Third-party neck straps, like this UPstrap mod
■ Video cable. This cable allows

television, and view the video o
itor with a composite video inp
■ Application software CD. The
in more detail in Chapter 8.
■ Printed instruction manual an
manual, the lens brochure, and
■ Remote Commander clip. Son
with the camera, but it does inc
control to your neck strap.
Initial Setup
The initial setup of your Sony Alp
need to charge the battery, attach
of these steps separately, but if you
out further instructions, feel free to
its contents, however, because I’m
aware of.
del, are often preferable to the Sony-supplied strap.
you to connect the camera to a standard definition

output of the camera on the screen of a TV or mon-
put connector.
e disk contains useful software that will be discussed
nd related materials. These include the instruction

d the accessories brochure.
ny doesn’t pack an RM-S1AM Remote Commander
clude a clip you can use to attach the optional remote
pha DSLR-A850 is fast and easy. Basically, you just

a lens, and insert a memory card. I’ll address each
already feel you can manage these setup tasks with-
o skip this section entirely. You should at least skim
m going to list a few options that you might not be
Battery Included
Your Sony Alpha DSLR-A850 is a sophisticated hu
but it needs a charged battery to function, so rejuve
ion battery pack furnished with the camera should
power source should be good for approximately 88
conditions, based on standard tests defined by t
Association (CIPA) document DC-002. If you use
long time focusing before each shot, you can expect
before it’s time for a recharge. In addition, functio
more power than you might expect. So, even thou
number, if your pictures are important to you, a
charged battery.
And remember that all rechargeable batteries underg
sitting idle in the camera or in the original packagin
type typically lose a small amount of their charge ev
turned on. Li-ion cells lose their power through a che
the camera is switched off. So, it’s very likely that the
era, even if charged at the factory, has begun to poop
banana boat (or, more likely, a trip by jet plane follo
so you’ll want to revive it before going out for some
Charging the Battery

When the battery is inserted into the charger proper
rectly), a Charge light begins glowing, without flash
glow until the battery completes the charge and the l
from about 175 minutes for a normal charge, to 23
fully discharged battery. The full charge is complete
lamp turns off, so if your battery was really dead, do
the additional time has elapsed.
If the charging lamp flashes when you insert the bat
tion. Make sure you have the correct model number
tacts (the shiny metal prongs that connect to the ba
When the battery is charged, slide the latch on th
battery door, and ease the battery in with the three c
the compartment (see Figure 1.3). To remove the b
in the battery compartment that prevents the pack
is opened.
otography
unk of machinery and electronics,

enating the NP-FM500H lithium-
d be your first step. A fully charged
80 shots under normal temperature
the Camera & Imaging Products
e continuous autofocus or spend a
to take considerably fewer pictures
ons like picture review can use up
ugh 880 images sounds like a large
always take along one spare, fully
go some degree of self-discharge just

ng. Lithium-ion power packs of this
very day, even when the camera isn’t
emical reaction that continues when
e battery purchased with your cam-
p out after the long sea voyage on a
owed by a sojourn in a warehouse),
e serious shooting.
rly (it’s impossible to insert it incor-

hing (see Figure 1.2). It continues to
lamp turns off. Charging times vary
35 minutes to completely restore a
e about one hour after the charging
on’t remove it from the charger until
ttery, that indicates an error condi-

r battery and that the charger’s con-
attery) are clean.
he bottom of the camera, open the
contact openings facing down into
battery, you must press a blue lever
k from slipping out when the door
Chapt
Figure 1.2 The charger (shown here without the

power cord attached) will rejuvenate a battery in about
three to four hours.
Final Steps
Your Sony Alpha DSLR-A850 is alm
and mount a lens, adjust the viewfin
of these steps is easy, and if you’ve u
know exactly what to do. I’m going
are new to the Sony or digital SLR
Mounting the Lens

As you’ll see, my recommended len
equipment from accidental damage,
DSLR-A850 has no lens attached,
not remove) the rear lens cap. I gen
cally in a slot in my camera bag, wh
quickly. By loosening the rear lens c
the last instant, so the rear element
After that, remove the body cap fro
ter release button. You should alway
camera, because it helps keep dust o
on the mirror, focusing screen, the i
the shutter onto the sensor. (While
the less dust it has to contend with
able mirror from damage caused by
not cautious).
Once the body cap has been remo
aside, and then mount the lens on
Figure 1.3 Insert the battery in the camera; it only fits

one way.
most ready to fire up and shoot. You’ll need to select

nder for your vision, and insert a memory card. Each
used a similar Sony camera in the past, you already
g to provide a little extra detail for those of you who
worlds.
ns mounting procedure emphasizes protecting your

, and minimizing the intrusion of dust. If your Alpha
select the lens you want to use and loosen (but do
nerally place the lens I am planning to mount verti-
here it’s protected from mishaps but ready to pick up
cap, you’ll be able to lift it off the back of the lens at
t of the lens is covered until then.
om the camera by rotating the cap towards the shut-
ys mount the body cap when there is no lens on the
out of the interior of the camera, where it can settle
interior mirror box, and potentially find its way past
e the Alpha’s sensor cleaning procedure works fine,
h, the better.) The body cap also protects the vulner-
y intruding objects (including your fingers, if you’re
oved, remove the rear lens cap from the lens, set it
the camera by matching the red-orange alignment
indicator on the lens barrel with the red-orange do

Figure 1.4). Rotate the lens toward the shooting mod
press the lens release button during mounting.) If the
in the reversed position (which makes the lens/hoo
transport), twist it off and remount with the rim faci
hood protects the front of the lens from accidental b
extraneous light arriving at the front element of the
Adjusting Diopter Correction

Those of us with less than perfect eyesight can ofte
rection in the viewfinder. Your contact lenses or gla
you need, but if you are a glasses wearer and want t
without your glasses, you can take advantage of the c
correction to match that of your glasses or your eyes
shutter release halfway to illuminate the indicators
diopter adjustment wheel on the right side of the v
while looking through the viewfinder until the indi
If the available correction is insufficient, Sony offers
for the viewfinder window, from +3 to –4 diopters.
Alpha DSLR-A850, and each requires a different d
time by noting the number of clicks and direction
power; counterclockwise to decrease the diopter valu
to the other.
otography
ot on the camera’s lens mount (see

de dial until it seats securely. (Don’t
e lens hood is bayoneted on the lens
od combination more compact for
ing outward (see Figure 1.5). A lens
bumps, and reduces flare caused by
lens from outside the picture area.
en benefit from a little optical cor-

asses may provide all the correction
to use the Sony Alpha DSLR-A850
camera’s built-in diopter adjustment
sight with your glasses on. Press the
s in the viewfinder, then rotate the
viewfinder eyepiece (see Figure 1.6)
icators appear sharp.
s nine different Eyepiece Correctors
If more than one person uses your
diopter setting, you can save a little
n (clockwise to increase the diopter
ue) required to change from one user
Figure 1.4
Match the red-
orange dot on
the lens with
the red-orange
dot on the
camera mount
to properly
align the lens
with the bayo-
net mount.
Chapt
Figure 1.5
A lens hood
protects the
lens from extra-
neous light and
accidental
bumps.
Figure 1.6
Viewfinder
diopter correc-
tion can be
dialed in.
Diopter-adjustment dial
Inserting a Memory Card

You can’t take actual photos without a memory card
the camera will snap off “pictures” that are all dressed
be displayed on the LCD, with a No Card warning
1.7), and a flashing 0 indicator appearing in the view
shutter with no card installed can be disabled by turn
tion in the Custom menu, as discussed in Chapter 3.
a memory card.
The Alpha DSLR-A850 accepts both Compact Flash
(or Memory Stick PRO-HG Duo) cards. (It doesn’t
camera will accept both cards at once, although it w
given time.) The cards fit in slots underneath a do
(when viewed as you hold it). You should only remov
era is switched off; the Alpha will alert you with a Cov
if the memory card door is opened while the camera
Insert the memory card with the label facing the back
1.8). Whether you use Compact Flash or Memory S
oriented so the edge with the metal contacts goes int
a Memory Stick PRO Duo, you have to use the Setu
otography
d inserted in your Sony Alpha, but

d up, with no place to go. They can
g shown at bottom right (see Figure
wfinder. (The ability to activate the
ning off the Release w/o Card func-
.) So, your final step will be to insert
h and Sony Memory Stick PRO Duo

matter which type you use, and the
will only use one or the other at any
oor on the right side of the camera
ove the memory card when the cam-
over Open notice on the LCD screen
a is still writing photos to the card.
k of the camera (as shown in Figure
Stick PRO Duo, the card should be
to the slot first. If you decide to use
up menu or the Quick Navi screen
Figure 1.7
If you take a
picture with no
memory card
inserted, the
camera will dis-
play the image,
but with a “No
Card” warning
in the lower-
right corner;
the image will
not be saved.
Chapt
Figure 1.8
The memory
card is inserted
in the slot on
the side of the
camera.
(discussed in Chapter 3) to set the c

button on the lower-right side of the
ing the multi-selector [the joystick-l
the front or rear control dial until th
A850 and see a set of blinking dash
Flash) indicator on the LCD screen’
inserted a card, you’ve probably fail
Close the memory card door, and y
you remember to remove the lens c
want to remove the memory card l
card (for CF cards) or press down on
cards), and the card will pop right o
Turn on the Power

Slide the On/Off switch that sits to
the On position. The camera will r
turn it off. After three minutes of id
battery power. (The time interval b
trolled through a Setup menu opti
release button or another control,
bring it back to life.
Memory Stick PRO Duo
Compact Flash
camera to use the correct type of card. (Press the Fn

e camera back, select the memory card item by mov-
like controller on the back of the camera], and rotate
he MS icon appears.) If you turn on the Alpha DSLR-
hes next to the MS (Memory Stick) or CF (Compact
n’s information display even though you have, in fact,
led to set this menu item to the correct option.
your preflight checklist is done! (I’m going to assume
cap when you’re ready to take a picture!) When you
later, just press down on the little latch next to the
n the card edge that protrudes from the slot (for MS
out.
o the left of the viewfinder eyepiece to the right, to

remain on or in a standby mode until you manually
dling, the Alpha goes into the standby mode to save
before the camera enters standby mode can be con-
ion, as discussed in Chapter 3.) Just tap the shutter
such as the center button of the multi-selector, to
When the camera first powers up, you may be asked

cedure is fairly self-explanatory (although I’ll explai
the Date/Time setup option in Setup menu 1, and
from left to right among the date, year, time, and d
up and down motion to select the correct settings. W
tor firmly in, choose OK on the screen that pops u
more to confirm the date and time settings.
Once the Sony Alpha DSLR-A850 is satisfied that i
ing information display should appear on the LCD.
of the LCD screen) to produce it if you want to activa
Press the DISP button again to select the other versi
are a Detailed display (see Figure 1.9), and an Enlar
mation (Figure 1.10). Press the DISP button a third
mation display completely off. When you rotate the
the text and icons on the recording information di
easy viewing. (This function can be disabled with
Custom menu 2; see discussion in Chapter 3.)
The recording information display shows the basic
current shutter speed and lens opening, shooting
parameters. I’ll explain these features in later chapt
Chapter 4, which deals with exposure).
otography
d to set the date and time. The pro-

in it in detail in Chapter 3). Access
d use the multi-selector to navigate
date format and use the controller’s
When finished, press the multi-selec-
up, and press the controller in once
it knows what time it is, the record-

. Press the DISP button (to the left
ate this display when it is not active.
ion of this screen. The two versions
rged display with slightly less infor-
d time to turn the recording infor-
e camera to shoot vertical pictures,
isplay reorient themselves, too, for
h the Rec info disp. option on the
c settings of the camera, including

mode, ISO sensitivity, and other
ters of this book, too (especially in
Figure 1.9
The detailed
recording
information
display pro-
vides the
maximum
information
about your
shooting
settings.
Chapt
Figure 1.10
The enlarged
recording
information
display pro-
vides slightly
less informa-
tion about your
shooting set-
tings, but in
larger type that
is easier to read
in a hurry.
Tip
The Alpha DSLR-A850 does not ha
eras, displays what the lens sees on t
era has a feature called Intelligent pr
lets you display a test image along w
screen, including a histogram, so you
ture. In Chapter 4, you can read abo
as histograms, and Chapter 5 covers
Formatting a Memory C
There are three ways to create a blan
for your Sony Alpha DSLR-A850,
are your options, both correct and
■ Transfer (move) files to your c
the image files to your compute
transfer or with a card reader a
chapter), the old image files ca
ave the “live view” feature, which, in some other cam-

the LCD screen in recording mode. Instead, the cam-
review, which gives you a depth-of-field preview and
with considerable technical information on the LCD
u can tweak your settings before taking the final pic-
out Intelligent preview, as well as related topics such
s Dynamic Range Optimizing (D-Range Optimizer).
Card
nk Compact Flash or Memory Stick PRO Duo card
and two of them are at least partially wrong. Here
incorrect.
computer. When you transfer (rather than copy) all
er from the memory card (either using a direct cable
and appropriate software, as described later in this
an, at your option, be erased from the card, leaving
the card blank. Theoretically. Unfortunately, thi

you’ve labeled as Protected (by choosing Protect
playback), nor does it identify and lock out pa
corrupted or unusable since the last time you fo
ommend always formatting the card, rather th
each time you want to make a blank card. The o
leave the protected/unerased images on the card
friends, family, and colleagues.
■ (Don’t) Format in your computer. With the me
or card slot in your computer, you can use Win
memory card. Don’t! The operating system won
of the card the way the Alpha DSLR-A850 lik
incorrect file system may be installed). The only w
properly formatted for your camera is to perfor
The only exception to this rule is when you have
that your camera refuses to format. Sometimes
rupted card by allowing the computer’s operati
trying again in the camera.
■ Playback menu format. To use the recommen
card, press the Menu button (the top button to
use the left/right motion of the multi-controll
(which is represented by the number 1 beside t
alternative, you may find it faster to use the rea
menu. Then use the downward motion of the m
trol dial, to navigate to the Format entry. Press in
ton, and select OK from the screen that appears
the front or rear control dial or the multi-select
button once more to begin the format process.
HOW MANY SHOTS?

The Sony Alpha DSLR-A850 provides a fairly accurat
remaining on the LCD. It is only an estimate, because
depending on the capacity of your memory card, the f
on those later), the aspect ratio (proportions) of the im
tional 3:2 proportions and 16:9—HDTV—aspect rati
itself. (Some photos may contain large areas that can b
to a smaller size.)
otography
is method does not remove files that

t from the Playback menu 1 during
arts of your card that have become
ormatted the card. Therefore, I rec-
han simply moving the image files,
only exception is when you want to
for a while longer, say, to share with
emory card inserted in a card reader

ndows or Mac OS to reformat the
n’t necessarily arrange the structure
kes to see it (in computer terms, an
way to ensure that the card has been
rm the format in the camera itself.
e a seriously corrupted memory card
s it is possible to revive such a cor-
ing system to reformat it first, then
nded method to format a memory

o the left of the LCD screen), then
ler to choose the Playback menu 1
the right-pointing triangle). In the
ar control dial to scroll over to this
multi-selector, or turn the front con-
n on the multi-selector’s center but-
s, navigating to the OK option with
tor. Press the multi-selector’s center
te estimate of the number of shots

e the actual number will vary,
file format(s) you’ve selected (more
mage (the Alpha can use both tradi-
ios), and the content of the image
be more efficiently squeezed down
Chapt
Table 1.1 shows the typical numbe

Compact Flash memory card (whic
DSLR-A850 users as prices continu
ures are by actual count with my ow
in half if you’re using an 8GB CF
card, or by 12.5 percent if you’re w
similar numbers of shots on a Mem
Table 1.1 Typical Shots with

Larg
3:2 Aspect Ratio
JPEG X-Fine 68
JPEG Fine 158
JPEG Standard 237
RAW 42
RAW+JPEG (Fine) 33
cRAW 62
cRAW+JPEG (Fine) 44
16:9 Aspect Ratio
JPEG X-Fine 80
JPEG Fine 184
JPEG Standard 274
RAW 42
RAW+JPEG (Fine) 34
cRAW 62
cRAW+JPEG (Fine) 46
Selecting a Shooting M
You can choose a shooting method
Sony Alpha DSLR-A850 (see Figur
not coddle you with numerous scen
portraits, sports, night snapshots, f
frills automatic mode, designated a
er of shots you can expect using a good-sized 16GB

ch I expect will be a popular size card among Alpha
ue to plummet during the life of this book). All fig-
wn 16GB CF card. Take those numbers and cut them
card; multiply by 25 percent if you’re using a 4GB
working with a 2GB CF card. You can expect to get
mory Stick PRO Duo card of the same capacity.
h an 8GB Memory Card (DSLR-A850)

ge Medium Small
88 1230 2220
81 2699 4697
71 3846 6184
23 N/A N/A
33 365 388
27 N/A N/A
49 509 553
08 1441 2571
43 3111 5310
44 4401 6881
23 N/A N/A
44 372 392
27 N/A N/A
68 522 561
Mode
d from the mode dial located on the top left of the
re 1.11). Unlike some earlier models, the A850 does
ne shooting modes that are designed for subjects like
fireworks, and the like. The camera has just one no-
as Auto, in which the camera makes virtually all the
User’s saved settings
Automatic
Manual
decisions for you (except when to press the shutte

expect, has the four standard semi-automatic and man
allow you to provide more input over the exposure a
find a complete description of all of these shooting
Turn your camera on by flipping the power switch to
shooting mode to use. If you’re new to digital photo
camera to Auto (the aqua Auto setting on the mode d
snapping away. Either mode will make all the app
shooting situations. When you switch to a shooting
upper left of the recording information display to rem
as shown in Figures 1.9 and 1.10.
If you have more photographic experience, you mig
automatic or manual modes, also shown in Figure
more detail in Chapter 4. These modes let you apply
era’s settings. These modes are indicated on the mod
■ P (Program auto). This mode allows the Alpha D
sure settings, but you can still override the camer
■ A (Aperture priority). Choose when you want to
cially to control sharpness or how much of you
select the appropriate shutter speed for you.
otography
Figure 1.11
The mode dial
includes auto-
matic, semi-
automatic, and
manual expo-
sure settings.
Program Auto
Aperture priority
Shutter priority
er). The camera also, as you would

nual modes—P, A, S, and M, which
and settings the camera uses. You’ll
modes in Chapter 4.
On. Next, you need to select which
ography, you might want to set the
dial) or P (Program mode) and start
propriate settings for you for many
g mode, an indicator appears in the
mind you which mode you’re using,
ght want to opt for one of the semi-

1.11. These, too, are described in
a little more creativity to your cam-
de dial by the letters P, A, S, and M.
DSLR-A850 to select the basic expo-
ra’s choices to fine-tune your image.
o use a particular lens opening, espe-
ur image is in focus. The Alpha will
Chapt
■ S (Shutter priority). This mod

ter speed to stop action or pro
appropriate f/stop for you.
■ M (Manual). Select when you
opening, either for creative effe
flash unit not compatible with
Choosing a Metering
You might want to select a particul
default Multi segment metering is
camera. Changing metering modes
this is one of several options that So
troller. Locate the AEL button at th
see a ring that surrounds it, with a
ring and its three options are shown
Figure 1.12
Metering modes
(top to bottom)
Multi segment,
Center weighted,
and Spot.
de is useful when you want to use a particular shut-

oduce creative blur effects. The Alpha will select the
u want full control over the shutter speed and lens

ects or because you are using a studio flash or other
the Alpha’s automatic flash metering.
Mode
lar metering mode for your first shots, although the
s probably the best choice as you get to know your
s is easy with the Sony Alpha DSLR-A850, because
ony has wisely provided with its own dedicated con-
he upper-right corner of the LCD screen, and you’ll
small ridge that you can use to turn the ring. This
n in Figure 1.12.
Metering mode selection dial
Spot
Center weighted
Multi segment
There are three positions for this ring, each marke

metering modes. Just grasp the ring and its ridge an
the setting you want.
■ Multi segment metering. The standard metering
ligently classify your image and choose the bes
40 different zones in the frame. You can read ab
■ Center weighted averaging metering. The Alph
the most emphasis to the central area of the fram
■ Spot metering. Exposure is calculated from a sm
You’ll find a detailed description of each of these mo
Choosing a Focus Mode

If you’re using one of the newer autofocus lenses m
cameras, such as the Sony 28-75mm SAM Zoom len
matic to Manual focus by moving the AF/MF swi
camera. If you set that switch to MF, you’ll be using
focus settings you make on the camera; the MF sw
focus settings. (Of course, if you’re using an older l
only, such as some Minoltas from the pre-Sony days
have no effect in that case either.)
If you’re using a Sony Alpha-compatible autofocus le
lens set to AF, you’ll need to choose an appropriate fo
read more on selecting focus parameters in Chapter 5
mode, the focus method is set for you automatically,
it if you want. Be aware, though, that if you afterwar
or switch away to another shooting mode and then b
set the focus mode to AF-A. Therefore, you can easil
to a different AF mode than the one that is set with t
The focus mode, like many other functions on the A
troller. This one is a little dial at the bottom of the cam
as you hold the camera in shooting position (see Figur
this dial to one of its four positions: S, A, C, or MF. H
■ Single-shot (S). This mode, sometimes called sin
when the shutter button is pressed down halfwa
glows green at the far left of the line of shooting
focus will remain locked until you release the bu
era is unable to achieve sharp focus, the green f
This mode is best used when your subject is rel
otography
ed by an icon for one of the three

nd turn the white indicator line to
g mode; the Alpha attempts to intel-

st exposure based on readings from
bout these zones in Chapter 4.
ha meters the entire scene, but gives
me.
maller central spot.
odes in Chapter 4.
made specifically for the Sony Alpha

ns, you can easily switch from auto-
itch on the lens mounted on your
manual focus no matter what other
witch on the lens overrides all other
lens that is made for manual focus
s, autofocus controls on the camera
ens and you leave the switch on the

ocus mode on the camera. (You can
5.) If you’re using the Auto shooting
, to AF-A, but you can then change
rds turn the camera off and back on,
back to Auto, the camera will again
ly end up with the camera being set
the AF mode dial, discussed next.
Alpha DSLR-A850, has its own con-
mera, just below the lens, on the left
re 1.13). To set the focus mode, turn
Here is what those settings mean.
ngle autofocus, locks in a focus point
ay, and the focus confirmation disc
information in the viewfinder. The
utton or take the picture. If the cam-
focus confirmation light will blink.
latively motionless.
Chapt
■ Automatic AF (A). In this mod

mode, the Alpha DSLR-A850
AF as appropriate. That is, it lo
shutter button (Single-shot mo
if the subject begins to move. T
such as a child at quiet play, wh
■ Continuous AF (C). This mod
you partially depress the shutte
and refocuses if the camera or
graphing sports and moving su
the green focus confirmation d
until you press the shutter fully
■ Manual focus (MF). If you are
AF-MF switch, and you have se
ting the camera’s focus mode d
Manual focus mode. In that m
the focusing ring on the lens un
some assistance from the cam
AF/MF button, located just to
on that control, the autofocus m
for you. Manual focus is a good
and difficult for the autofocus m
reflective surfaces or in deep sh
Figure 1.13
Set autofocus
mode using the
dial on the
camera.
Single-shot AF
Automatic AF
Continuous AF
Manual focus
de, the default used by the camera in Auto shooting

0 switches between Single-shot AF and Continuous
ocks in a focus point when you partially depress the
ode), but switches automatically to Continuous AF
This mode is handy when photographing a subject,
ho might move unexpectedly.
de, sometimes called continuous servo, sets focus when
er button, but then continues to monitor the frame
subject is moved. This is a useful mode for photo-
ubjects. In this mode, the camera does not beep and
disc does not light up, because the focus is not set
y to take the picture.
e using a newer-model lens that is equipped with the
et that switch to AF, you still have the option of set-
dial to the MF position, which puts the camera into
mode, it’s up to you to achieve sharp focus by turning
ntil the image in the viewfinder is sharp. You can get
mera, though, even in MF mode, by pressing the
o the left of the rear control dial. When you press in
mechanism kicks in temporarily and locks the focus
d option to have in situations where focus is critical
mechanism to deal with, such as subjects with highly
hadows.
Selecting a Focus Point

Depending on the focus mode selected, the Sony A
focus points to calculate correct focus, along with ten
among that array of nine. In Auto shooting mode,
mode to Wide, in which it uses all 19 points. How
other shooting modes (P, A, S, and M), you still have
and set the focus mode to any of the three available
Depending on which focus mode you select, you c
points the Sony dSLR uses to calculate correct focu
select the point for you. There are three AF area optio
described in Chapter 5. Press the Fn button to call
navigate to the AF area selection, press in on the m
select one of these three choices. Press in again to co
■ Wide. The Sony Alpha DSLR-A850 chooses th
from the nine AF areas that are shown on the
mental areas that are not visible. However, you c
zone while shooting by pressing in on the multi
otography
Alpha DSLR-A850 uses up to nine

n supplementary focus points spread
, the camera initially sets the focus
wever, in Auto mode as well as the
e the option to override that choice
e options.
can specify which of the nine focus
us, or you can allow the camera to
ons, shown in Figure 1.14, and also
l up the Quick Navi menu screen,
multi-selector’s center button, and
onfirm.
he appropriate focus zone or zones
screen, as well as from ten supple-
can switch to the center (Spot) focus
i-selector’s center button. (In effect,
Figure 1.14
Select from
Wide (the
Alpha selects
one of the nine
AF areas), Spot
(only the center
focus spot is
used), or Local
(you can
choose which
area to use).
Chapt
pressing in on the multi-selector

you release the multi-selector,
selected.)
■ Spot. The Alpha always uses th
calculate correct focus.
■ Local. Move the multi-selector
zones. You can also press in on
center focus sensor. Also, as wit
selector’s center button to chan
long as you keep the button pr
Turning on SteadySho
Unless you’re going to be using you
to be shooting in bright light with
you should activate the camera’s bu
This camera is unusual for a digital
body, rather than leaving that functi
feature, and you should take advant
crisp, clear images, and photos that
substantial piece of equipment perfe
ter of a second. Here, again, there
system. Just look for the little imag
sure the On/Off switch below it i
through the viewfinder, watch for
information display (see Figure 1.15
Try to hold it steady enough to kee
shutter button to take your picture
Other Settings
There are a few other settings you
bad if you postpone using these fea
with your Sony Alpha.
Adjusting White Balanc

If you like, you can custom-tailor y
ity settings. To start out, it’s best to
200 for daylight photos, or ISO 40
or switches the focus mode temporarily to Spot. Once

the focus mode reverts to the mode you originally
he small focus zone in the center of the viewfinder to
r to move the focus zone among the nine available

n the multi-selector’s center button to switch to the
th the Wide mode, you can press and hold the multi-
nge to Spot focusing using the center focus sensor, as
ressed.
ot
ur Sony Alpha DSLR-A850 on a tripod or are going
h fast shutter speeds (say, 1/125th second or faster),
uilt-in image stabilization system, called SteadyShot.
l SLR in having such a system built into the camera
ion to be built into individual lenses. It’s a very good
tage of it, because it can mean the difference between
t are blurred because you were not able to hold this
ectly steady while the shutter did its thing for a quar-
is no need to plumb the depths of an arcane menu
ge of a hand on the back of the camera, and make
is in the On position. Then, when you’re looking
the scale of rising bars at the far right of the green
5). The more bars you see, the shakier the camera is.
ep the bars down to one or two, and then press the
e.
can make if you’re feeling ambitious, but don’t feel

atures until you’ve racked up a little more experience
ce and ISO
your white balance (color balance) and ISO sensitiv-
o set white balance (WB) to Auto, and ISO to ISO
00 for pictures in dimmer light. You’ll find complete
recommendations for both settings in Chapter 4. You

ing the WB button on the top right of the camera
choices of settings with the multi-selector or the fro
ing the multi-selector’s center button. The ISO setti
ing the ISO button, right next to the WB button, a
in similar fashion. (With ISO, though, you can use
dial to scroll through the selections; with WB, the re
ing the WB settings. I’ll talk more about that proce
Using Exposure Compensation

If you want to exercise even more control over your im
sure compensation to correct for a situation in which
ing may call for a bit too much or too little exposur
discuss further in Chapter 4, might come up when
example. To activate this feature, just press the expo
is marked by a set of plus and minus signs and is lo
the shutter button. Then use the multi-controller, th
trol dial to move the pointer left or right along the s
can dial in up to +3 steps of compensation to make t
otography
Figure 1.15
The Alpha
DSLR-A850’s
SteadyShot sys-
tem indicates
the degree of
camera shake
through an
array of rising
green bars at
the far right of
the informa-
tion display in
the viewfinder.
Try to steady
the camera so
as to reduce the
bars to one or
two before
pressing the
shutter button.
u can adjust white balance by press-

and then navigating to the various
ont control dial. Confirm by press-
ing menu can be invoked by press-
and navigating through the choices
either the front or the rear control
ear dial is reserved for use in tweak-
edure in Chapter 5.)
mages, you can dial in a bit of expo-

h the camera’s automatic light meter-
re. This type of scenario, which I’ll
your subject is lit from behind, for
osure compensation button, which
ocated just behind and to the left of
he front control dial, or the rear con-
scale that pops up on the LCD. You
the image brighter, or up to –3 steps
Chapt
to make it darker. Press in on the m

Exposure compensation is a “sticky
another exposure mode or turned t
exposure compensation when you n
Using the Self-Timer

If you want to set a short delay befo
Press the DRIVE button (on top of
ter button), use the multi-selector
icon, and then use the multi-selecto
to select either the 10-second self-
Press in on the center of the multi-s
will appear on the recording inform
A850. Press the shutter release to l
will blink and the beeper will soun
final two seconds (in 10-second mod
more rapidly. If you select the 2-se
down the time—just a 2-second de
The self-timer setting is cancelled a
Figure 1.16
Drive modes.
multi-selector’s center button to confirm your choice.

y” setting that continues even if you’ve switched to
the camera off, so you must remember to cancel the
no longer need it.
ore your picture is taken, you can use the self-timer.

the camera, just behind and to the right of the shut-
or the front control dial to highlight the self-timer
or or the rear control dial to move to the right or left
-timer or the 2-second self-timer (see Figure 1.16).
selector to confirm your choice and a self-timer icon
mation display on the back of the Sony Alpha DSLR-
lock focus and start the timer. The self-timer lamp
nd (unless you’ve silenced it in the menus) until the
de), when the lamp remains on and the beeper beeps
econd timer, there are no blinks or beeps to count
elay before the shutter activates to take the picture.
automatically when the camera is switched off.
Figure 1.16 shows the drive modes which include

Continuous adv., Self-timer (10-second delay/2-s
Several other modes are available but are not shown
downward triangle at the bottom of the screen: Br
(Dynamic Range Optimization) adv. bracket; Mirror
These are all discussed in Chapter 4.
Sony recommends closing the eyepiece shutter wit
using the self-timer, in order to keep extraneous ligh
through the viewfinder “back door.” This is a good id
is so easy to slide down; with many other cameras, yo
cover for this function, but the lever makes this pro
Reviewing the Images You’ve Ta

The Sony Alpha DSLR-A850 has a broad range of p
I’ll cover them in more detail in Chapters 2 and 3.
the basics. Here is all you really need to know at th
There are other playback options that I’ll cover in C
■ Press the Playback button (the bottom button to
with a hard-to-see dark-blue right-pointing tr
image on the LCD.
■ Press the multi-selector to the left or rotate the
to view a previous image.
■ Press the multi-selector to the right or rotate th
right to view a later image.
■ Press the Trash button to delete the currently di
■ Press the Fn button and then press the multi-se
image 90 degrees. (I’ll explain how to activate
Chapter 3.)
■ Press the Zoom/AF/MF button at the top right
the left of the rear control dial) to display the c
and to alternate between zoomed and full-scree
otography
(top to bottom) Single-shot adv.,

second delay), and Bracket: Cont.
n on this screen, as indicated by the
racket: Single; WB bracket; DRO
r lockup; and Remote Commander.
th the eyepiece shutter lever when

ht from reaching the exposure meter
dea, especially since this handy lever
ou have to use a separate viewfinder
ocess a no-brainer.
Taken
playback and image review options.
. For now, you’ll want to learn just
his time, as shown in Figure 1.17.
Chapter 2.
o the lower left of the LCD, marked
riangle) to display the most recent
front or rear control dial to the left
he front or rear control dial to the
isplayed image.
elector’s center button to rotate the
e/deactivate automatic rotation in
t of the back of the camera (just to

current image in a magnified view
en views.
Chapt
■ After pressing the Zoom butto

fication level to various stages
Large JPEG images. (The max
Medium or Small images.)
■ Rotate the front control dial t
level.
■ Use the multi-selector to scro
shows the relationship of the m
the inset box, press the DISP.
inset box.
Figure 1.17
Review your
images.
Erase Play back Change

current most recent information
image image display
on, rotate the rear control dial to change the magni-

between 1.2 and 19 times normal size for RAW or
ximum magnification level is less than 19 times for
to move to other images at the same magnification
ll around within a magnified image. An inset box

magnified image to the entire frame. If you don't see
button to show the more detailed display with the
Access index
mode to view Zoom Magnify
thumbnails in/out image
Navigate Access Quick Display

through Navi menu to histogram
images rotate images
■ Press the DISP button repeatedly to cycle among

full recording data (f/stop, shutter speed, image
ing data with five thumbnails at the top showi
images preceding or following it. (I’ll explain al
■ Press the Index/AEL button (to the top right o
Then press the DISP button to set the display to
can be scrolled among using the multi-selector.
■ Press the Histogram/C button, beneath the mult
which provides a graphic representation of the b
with more detailed recording information. I’ll
Chapter 4.
You’ll find more information on viewing thumbnail
review functions in Chapter 2.
Transferring Photos to Your Co

The final step in your picture-taking session will be
to your computer for printing, further review, or ima
memory card to a retailer for printing if you don’t w
Your Sony Alpha DSLR-A850 allows you to print
printers and to create print orders right in the camer
to transfer to your computer. I’ll outline those optio
For now, you’ll probably want to transfer your ima
from the camera to the computer or removing the
transferring the images with a card reader (shown in
otography
g views that have no recording data,

quality/size, etc.), or partial record-
ing the current image and the four
ll these options in Chapter 2.)
of the LCD) to enter index mode.
o 4, 9, or 25 thumbnail images that
.
ti-selector, to display the histogram,
brightness values in the image, along
l discuss the histogram in detail in
l indexes of images and other image
omputer
to transfer the photos you’ve taken
age editing. (You can also take your
want to go the do-it-yourself route.)
directly to PictBridge-compatible
ra, plus you can select which images
ons in Chapter 3.
ages by either using a cable transfer
memory card from the Alpha and
n Figure 1.18). The latter option is
Figure 1.18
A card reader
is the fastest
way to trans-
fer photos.
Chapt
usually the best, because it’s usually

camera. However, you can use a cab
but no card reader (perhaps you’re u
Internet café).
To transfer images from a memory
1. Turn off the camera.
2. Slide open the memory card do
the card itself (MS PRO Duo), w
from the slot. (You can see a m
3. Insert the memory card into y
detects the files on the card and
your transfer software options
storage device on your desktop
files to your computer.
To transfer images from the camera
1. Turn off the camera.
2. Open the door on the left side
symbol, and plug the USB cab
port, which is the smaller of th
pushed all the way into the slot
Figure 1.19
Images can be
transferred to
your computer
using a USB
cable plugged
into the
USB/Video
port.
U
y much faster and doesn’t deplete the battery of your

ble transfer when you have the cable and a computer
using the computer of a friend or colleague, or at an
card to the computer using a card reader
oor, and press on the card eject lever (CF card) or on

which causes the card to pop up so it can be removed
memory card being removed in Figure 1.8.)
your memory card reader. Your installed software
d offers to transfer them. (You’ll find descriptions of
in Chapter 8.) The card can also appear as a mass
p, which you can open and then drag and drop the
a to a Mac or PC computer using the USB cable
e of the camera marked AV-Out and with the USB

ble furnished with the camera into the USB/Video
he two ports inside this door. Make sure the cable is
t. (See Figure 1.19.)
USB port
3. Connect the other end of the USB cable to a U

4. Turn on the camera. Your installed software us
to transfer the pictures, or the camera appears
device, enabling you to drag and drop the files
the Sony Alpha DSLR-A850’s bundled software
otography
USB port on your computer.

sually detects the camera and offers
on your desktop as a mass storage
s to your computer. I’ll cover using
re to transfer images in Chapter 8.
Sony Alp
One thing that always surprises new

camera has a total of 397 buttons,
from its surface. Okay, I lied. Actua
and adjustments, but that’s still a
consider that many of these contro
functions.
Traditionally, there have been two
this maze of features. One approach
ings or photos impaled with dozens
pages in the book that tell you wha
in the pocket-sized manual Sony pr
of the other third-party guidebook
era layouts is a lot like being presen
to know is how to find the capital o
I originated a more useful approach
lite view, a street-level map that inc
several angles (see Figure 2.1), with
individual feature. And, I don’t forc
to find out what a particular comp
description that summarizes the co
when a particular feature deserves
detailed write-up later in the book.
2
pha DSLR-A850
Roadmap
w owners of the Sony Alpha DSLR-A850 is that the
dials, switches, levers, latches, and knobs bristling
ally, the real number is closer to two dozen controls
lot of components to master, especially when you
ols serve double-duty to give you access to multiple
ways of providing a roadmap to guide you through

h uses two or three tiny black-and-white line draw-
of callouts labeled with cross-references to the actual
at these components do. You’ll find this tactic used
rovides with the Sony Alpha DSLR-A850, and most
ks as well. Deciphering one of these miniature cam-
nted with a world globe when what you really want
of Belgium.
h in my field guides, providing you, instead of a satel-
cludes close-up full-color photos of the camera from
h a smaller number of labels clearly pointing to each
ce you to flip back and forth among dozens of pages
ponent does. Each photo is accompanied by a brief
ontrol, so you can begin using it right away. Only
s a lengthy explanation do I direct you to a more
.
So, if you’re wondering what the Fn button does, I’ll

you flip to pages 37, 46, and 92 of the Sony manual
tered bits of information found there. This book is
explain how to use the ISO button to change the sen
a cross-reference to a longer explanation later in the
ISO, and its effects on exposure. I’ve had some read
even my minimized cross-reference approach; they’d
and read everything there is to know about bracketi
impossible to understand some features without ha
features do. So, I’ll provide you with summaries in t
simple features completely, and relegating some of
later chapters. I think this kind of organization work
as the Sony Alpha.
By the time you finish this chapter, you’ll have a ba
and what it does. I’m not going to delve into menu
cussion of your Recording, Setup, Playback, and Cu
Everything here is devoted to the button pusher and
otography
Figure 2.1
l tell you up front, rather than have

l so you can piece together the scat-
s not a scavenger hunt. But after I
nsitivity of the Alpha, I will provide
book that clarifies noise reduction,
ders write me and complain about
d like to open the book to one page
ing, for example. Unfortunately, it’s
aving a background in what related
the introductory chapters, covering
the really in-depth explanations to
ks best for a camera as sophisticated
asic understanding of every control

u functions here—you’ll find a dis-
ustom menu options in Chapter 3.
d dial twirler in you.
Front View
When we picture a given camera, w
your subjects see as you snap away, a
on the box. The frontal angle is, ess
DSLR-A850. But, not surprisingly,
pens behind it, where the photograp
have many controls and features to
Figure 2.2:
■ Shutter release button. Angled
ton. Press this button down ha
mode and Automatic AF mode
when you tap or depress the sh
release can be tapped to activat
Figure 2.2
Shutter
Front release
Memory control button
card access dial
door
Hand
Chapter 2 ■ Sony Alpha DSLR-A850 Roadmap 31
we always imagine the front view. That’s the view that

and the aspect that’s shown in product publicity and
sentially, the “face” of a camera like the Sony Alpha
most of the “business” of operating the camera hap-
pher resides. The front of the Alpha actually does not
o worry about. Several of them are most obvious in
d on top of the handgrip is the shutter release but-

alfway to lock exposure and focus (in Single-shot AF
with non-moving subjects). The Alpha assumes that
hutter release, you are ready to take a picture, so the
te the exposure meter or to exit from most menus.
AF illuminator/
self-timer lamp
Remote
Preview infrared
dgrip button sensor
■ Front control dial. When you are using manu

shutter speed, while the rear control dial is used
be reversed through Custom menu 2, as describ
used to change various other shooting settings an
ing through your images in playback mode and
cuss all of those functions as we come to them in
the front or the rear control dial can be used to
■ AF illuminator/Self-timer lamp. This LED sen
minate dark areas as an aid to the autofocus syste
contrast to lock onto to achieve sharp focus. You
Recording menu 3 in case you’re shooting in a
call attention to your camera. The same light als
down the 10-second self-timer, flashing slowly at
ing followed by a constant glow in the final mo
■ Hand grip. This provides a comfortable handh
battery.
■ Remote infrared sensor. This little window
Commander, an optional wireless remote contr
A850. I’ll discuss the use of this remote control
■ Preview button. This button provides a func
“depth-of-field preview,” and which Sony calls “I
camera gives you a glance at how the exposure w
gives you an opportunity to tweak those setting
cuss this function in more detail in Chapter 4.
Slide open the memory card access door shown in F
slots, which accept two different types of memory c
■ Memory Stick PRO Duo slot. You might own
Stick PRO Duo cards (because you own other S
can put them to work in your Sony Alpha, too.
ing inwards and towards the front of the camera
camera. Press the edge of the card and release to
■ CF card slot. Slide a Compact Flash card into
front of the camera. To remove the card, press
sticks up beneath the card’s slot, and the card w
otography
ual exposure, this dial is used to set

to set aperture. (Those settings can
bed in Chapter 3.) This dial is also
nd for other actions, such as advanc-
scrolling through menus. We’ll dis-
n later chapters. In some cases, either
o carry out the same function.
nds out a beam of red light to illu-
em, by giving the system additional
u can turn this function off through
a location where you don’t want to
so flashes while your camera counts
t first, then switching to rapid blink-
oments of the countdown.
hold, and also contains the Alpha’s
w senses signals from the Remote

rol that is available for use with the
l, as well as others, in Chapter 5.
ction that is sometimes known as
Intelligent preview.” Essentially, the
will look at the current settings and
gs before taking the picture. I’ll dis-
Figure 2.2, and you’ll find a pair of

cards. (See Figure 2.3.)
some of the less common Memory
Sony products that use them). You
. Insert with the metal contacts fac-
a; the label will face the back of the
o pop out your memory card.
this slot, with the label facing the
down on the little plastic tab that
will pop up so you can pull it out.
Figure 2.3
You’ll find more controls on the oth

■ Lens release button. Press and h
the lens to remove it from the c
■ Lens mounting index. Match t
cator on the camera’s lens mou
Alpha. (Actually, the index mar
on the camera, which looks sim
in this view.)
■ Focus mode lever. Turn this sw
for the camera: S for Single-sho
MF for Manual focus. I’ll discu
■ Neck strap mounting ring. At
ring and its counterpart on the
of your choice.
■ Flash sync terminal. This is a t
that lets you connect an extern
PC connector. I’ll discuss the u
Compact Flash card
Memory Stick PRO Duo
her side of the Alpha, shown in Figure 2.4.

hold this button to unlock the lens so you can rotate
camera.
this red-orange index button with a red-orange indi-
unt to line up the two for attaching the lens to the
rk visible in Figure 2.4 is the one on the lens; the one
milar, is on the lens mount, and hidden by the lens
witch to the appropriate letter to set the focus mode

ot AF, A for Automatic AF, C for Continuous AF, or
uss your focus options in detail in Chapter 5.
ttach the strap that comes with your Alpha to this
e other side of the camera, or use a third-party strap
terminal, protected by the small round cover shown,

nal flash unit using a standard flash sync cord with a
use of this terminal in Chapter 7. (See Figure 2.5.)
otography
Figure 2.4
Neck strap
mounting ring
Flash sync
terminal cover
Lens release
button
Lens mounting
index
Focus mode
lever
Figure 2.5
On the left side of the camera (as s
are three small doors. The two fart
Figure 2.6) and the DC power port
the HDMI port and USB/AV-Out
follows:
■ Remote control port. This por
as Sony’s RM-S1AM, which le
the camera shake that can result
control options in more detail
■ DC-In port. This port lets you
PW10AM or the AC-VQ900A
■ USB and Audio/Video-Out p
the cables that come as standard
cable for connecting to your com
dard TV set’s video and audio i
■ HDMI port. If you want to lin
chase an optional cable that co
camera (Figure 2.7), and conne
on the TV set. Of course, the S
picture) capability, but you can
this port.
Figure 2.6
Remote
control port
DC-In port
seen when you’re holding it to take a photo), there

thest forward cover the remote control port (top, in
(bottom, in Figure 2.6). Open the aft cover to reveal
ports. The functions of these four connectors are as
rt is where you connect a wired remote control such

ets you actuate the camera’s shutter without causing
t from pressing the shutter button. I’ll discuss remote
in Chapter 5.
u connect an optional AC adapter such as the AC-
AM, which also can charge batteries.
port. This little port is where you connect either of
d accessories with the Sony DSLR-A850—the USB
mputer, or the AV-out cable for connecting to a stan-
inputs.
nk the camera to a high-definition set, you can pur-
onnects a mini-HDMI connector to this port on the
ects a standard HDMI connector to an HDMI port
Sony DSLR-A850 does not have any video (motion
n still view your images at high resolution by using
Figure 2.7
HDMI port
USB/
AV-Out port
The Sony Alpha’s Business End

The back panel of the Sony Alpha bristles with mo
buttons, and knobs. That might seem like a lot of c
I noted earlier, that it’s a lot easier to press a dedica
jump to a menu every time you want to change a se
The controls on the back panel of the Sony Alpha D
between the left and right sides of the body. I’ll discu
groupings according to which side of the body they a
features of the camera that don’t fall readily into eith
ponents, which are labeled in Figure 2.8, include th
■ Memory card access lamp. When lit or blinking
ory card is being read from or written to. Be car
door or attempt to remove a memory card whil
Eyepiece
shutter
lever
Power
switch
LCD
otography
ore than a dozen different controls,

controls to learn, but you’ll find, as
ated button and spin a dial than to
etting.
DSLR-A850 are divided fairly evenly
uss most of the controls in separate
are located on. There are some major
her of those groups. Those key com-
he following:
g, this lamp indicates that the mem-
reful not to open the memory card
le this lamp is lit.
Figure 2.8
Viewfinder eyepiece
Memory
Diopter-adjustment dial card access
Eye-Start sensors lamp
■ Viewfinder eyepiece. You ca
viewfinder. It’s surrounded by
neous light when pressing your
your eyeglass lenses (if worn) fr
■ Eyepiece shutter lever. This lit
the viewfinder eyepiece, is a nic
camera on a tripod and your e
flick this lever down to black ou
neous light from reaching the s
arate cover to accomplish this r
the shutter with its lever makes
■ Eyepiece sensors. These sens
approaches the viewfinder, and
is strictly a power-saving feature
does not provide any other fun
tion of these sensors. There is n
■ Diopter-adjustment dial. Rota
looking through the Alpha’s vie
■ LCD. This is the 3-inch panel
information about them; the
snapped; and all the menus used
with detailed shooting inform
Preview function.
■ Power switch. Push this switch
left to turn it off. In Chapter 3,
to worry too much if you forge
The control cluster on the right sid
shown in Figure 2.9:
■ AF/MF/Zoom in. This button
the camera’s active mode.
In shooting mode, press this bu
manual focus. You can set this
have to hold in, or a toggle swit
control option on the Custom m
in Chapter 5.
an frame your composition by peering into the

a removable soft rubber frame that seals out extra-
r eye tightly up to the viewfinder, and it also protects
rom scratching.
ttle handle, sticking out slightly from the left side of
ce refinement provided by Sony. When you have the
eye is not blocking the light to the viewfinder, just
ut the eyepiece with the built-in shutter to keep extra-
sensor. With other cameras, you have to attach a sep-
result, or use your hand to block the light; the use of
s this operation a real snap.
sors detect when your face or some other object
turn off the LCD display on the camera’s back. This
e; unlike some other cameras, the Sony DSLR-A850
nctions, such as starting autofocus, through activa-
no way to disable this function.
ate this to adjust eyesight correction applied when
ewfinder, as discussed in Chapter 1.
l that displays the images you have taken as well as
e recording information display before a photo is
d by the Sony Alpha. In addition, it displays a screen
mation if you use the Preview button to activate the
h to the right to power the camera on and back to the

, I’ll discuss power-saving options, so you won’t have
et to turn this switch to the Off position.
de of the back of the camera includes these buttons,
n has several functions, which differ depending on
utton to switch temporarily between autofocus and

s switch to be either a momentary switch that you
tch that can be pressed and released, with the AF/MF
menu 1. I’ll discuss your focus options in more detail
In playback mode, press this button to zoom in

the LCD screen, and press again to return to f
rotate the rear control dial to change from 1.2
intermediate steps. (The 19X magnification is
images; for smaller images, less magnification is
■ Fn (Function) button. In shooting mode, press
Navi screen, which presents you with options fo
depending on whether you have selected the
Figure 2.10) or the somewhat abbreviated En
Detailed display is active, you can make the fol
sure compensation; flash exposure compensation
(Dynamic Range Optimization); Creative Style
size; and which type of memory card is installed
PRO Duo). If the Enlarged display is active, you
the exception of flash mode, Creative Style, and
AF/MF/Zoom
Autoexposure lock/Slow sync
Metering mode lever
Custom button/Histogram
Function/Rotate
otography
n on the image that’s displayed on

full screen view. When zoomed in,
2X to 19X magnification, with 14
available only for RAW and Large
s available.)
sing this button pops up the Quick
or selecting several shooting settings,
Detailed information display (see
nlarged information display. If the
llowing settings: flash mode; expo-
n; ISO; drive mode; AF area; DRO
e; white balance; image quality and
d (Compact Flash or Memory Stick
u can make all of those settings with
d type of memory card.
Figure 2.9
Rear control
dial
Multi-selector
SteadyShot
switch
Figure 2.10
Detailed infor-
mation display.
In playback mode, press this butto

image 90 degrees with successive p
2.11). All these options will be exp
■ Multi-selector/Enter/Spot butt
move up, down, left, and right
move through your images in p
nified image. In addition, its ce
menu choices when a menu is
selector stick is used to select a
pressing the center button retu
autofocus. (I’ll discuss autofocu
■ AEL/Slow Sync/Index button
automatic exposure setting at
change the behavior of this bu
function as a button you have t
a toggle function, so the expos
Second, you can set the button
additional feature of switching
exposure options in more detail
to the camera, pressing this but
on to pop up a screen that allows you to rotate the

presses of the center of the multi-selector (see Figure
plained in Chapter 3.
ton. The multi-selector acts as a joystick that lets you
t to navigate through various menu options and to
playback mode as well as to scroll around in a mag-
enter button can be used as an Enter key to confirm
shown on the screen. In shooting mode, the multi-
focusing point when the AF area is set to Local, and
urns the focus point to the center or switches to Spot
us options in Chapters 3 and 5.)
n/In recording mode, press this button to lock the
its current value. Using Custom menu 2, you can
utton in two ways. First, you can choose to have it
to hold in to keep its setting, or you can set it to have
sure will be locked until you press the button again.
n to be either a hold or a toggle button, but with the
the metering mode to Spot temporarily. I’ll discuss
l in Chapter 4. Also, if you have a flash unit attached
tton activates Slow Sync shooting, in which the flash
synchronizes at a slower shutter speed than it w

sure can be long enough to record the backgrou
this topic in Chapter 7.
In playback mode, this button acts as the Index
that shows thumbnails of your images in group
of thumbnails per index screen with the DISP
again returns you to the single-image screen.
■ Metering mode dial. Turn this dial, which sur
among the three available exposure metering
weighted, and Spot. Those modes are discussed
■ Rear control dial. This dial, which is very conv
variety of uses, depending on the context. In sh
sets the aperture in manual exposure mode an
front control dial ordinarily adjusts shutter spee
using Custom menu 2. This dial also is used to
and values among the menus as well as on the Q
back mode, this dial lets you navigate through yo
nification level of an image that has been enlarg
otography
would otherwise, so that your expo-

und using ambient light. I’ll discuss
x button. Press it to call up a screen

ps of 4, 9, or 25. Select the number
button. Pressing the Index button
rrounds the AEL button, to select

modes: Multi segmented, Center
d in detail in Chapter 4.
venient to your right thumb, has a
hooting mode, by default, this dial
nd some other modes, whereas the
ed; you can reverse those functions
o scroll through the various screens
Quick Navi menu screens. In play-
our images, and it changes the mag-
ged with the Zoom button.
Figure 2.11
You can rotate
the image in
90-degree
increments
during play-
back.
■ Custom/Histogram. In shootin
ton, letting you call up one opt
is set to invoke the Creative St
numerous options, including V
different choices that can be i
multi-selector (as discussed in C
can change this button’s functi
lock, AF/MF control, Optical
exposure compensation, flash e
size, image quality, D-Range O
options already have their own
compensation, and drive mode
options to be available instantl
In playback mode, this button
the brightness and color values
tion about the image being d
histogram in detail in Chapter
Figure 2.12
The histogram,
which provides
information
about the cur-
rent image in
graphic form, is
called up by
pressing the C
button on the
back of the
camera while in
playback mode.
ng mode, this control functions as the Custom but-

tion of your choice with a single press. By default, it
tyle option, letting you set your style to any of the
Vivid, Deep, Portrait, and the others, a total of 13
interchanged among the six styles listed, using the
Chapter 3). However, using Recording menu 1, you
ion to have it call up any of the following items: AF
l preview/Intelligent preview, ISO, white balance,
exposure compensation, drive mode, AF area, image
Optimizer, flash mode, or memory. Several of these
n dedicated buttons: ISO, white balance, exposure
e. So, you’re likely to want to select one of the other
ly through pressing the C button.
n calls up the histogram, a graphic representation of
s in your image, along with other detailed informa-
isplayed, as shown in Figure 2.12. I’ll discuss the
4.
■ SteadyShot switch. Set this switch to the On

SteadyShot image-stabilization feature. As I m
A850 stands out from many other cameras in
tion into the camera body rather than into
SteadyShot function is turned on, it senses mov
sensor slightly to compensate for the motion. A
teract very strong movements, Sony says that usin
2.5 and 4 EV steps by letting you use a slower s
out SteadyShot. When this system is activated, w
bars at the far right of the viewfinder and try to
keep that display down to one or two bars befo
The left side of the camera’s back holds a group of fo
in Figure 2.13.
■ Menu button. Summons/exits the menu system
Alpha. When you’re working with submenus, th
menu and return to the main menu.
Menu button
DISP
Delete
Playback
otography
n position to activate the camera’s

mentioned earlier, the Sony DSLR-
its class by incorporating stabiliza-
the individual lenses. When the
vement of the camera and shifts the
Although no such system can coun-
ng this system can gain you between
shutter speed than you could with-
watch the group of one to five green
o hold the camera steady enough to
ore pressing the shutter button.
our other buttons, which are shown
m displayed on the rear LCD of the

his button also serves to exit a sub-
Figure 2.13
k
■ DISP button. When in shootin
between the two recording info
tos. They are the Detailed disp
2.15). I’ll describe the data sho
mode, press the DISP button t
with recording information; w
the current image and four ot
either recording or playback m
longer time, a scale will pop up
cator left or right along this sc
multi-selector or the front or re
era’s menu system, press the D
and the camera will display the
operating software).
Figure 2.14 Exposure Shutter Ex

mode speed valu
Exposure com-
pensation
Flash mode
Flash exposure
compensation
Drive mode
Autofocus mode
Creative Style
Autofocus area
Battery status
Image Indicator of Image size/ M

quality current function aspect ratio
of Fn button
ng mode, press the DISP button repeatedly to cycle

ormation displays available while you are taking pho-
play (Figure 2.14) and the Enlarged display (Figure
own in the displays later in this chapter. In playback
to cycle among the three available playback screens:
with recording information as well as thumbnails of
thers; and without recording information. Also, in
mode, if you press and hold the DISP button for a
p for adjusting the screen’s brightness. Move the indi-
cale to dim or brighten the display, using either the
ear control dial. Finally, when you are using the cam-
DISP button when any line of a menu is displayed,
e current version number of its firmware (its built-in
xposure Current D-Range ISO

ue scale values Aperture Optimizer setting
Metering Memory Indicator of Remaining White

mode card current function exposures balance
of C button
Exposure Exposure Shutter e

mode compensation speed com
Battery Drive Indicator of Image Auto

status mode current function quality ar
of Fn button
■ Delete button. Press once if you want to delete

Then use the multi-selector or the front or rea
Press in on the multi-selector’s center button to
and select Cancel if you change your mind. This
with the AEL/Index button to confirm the dele
That procedure is described in Chapter 3.
■ Playback button. Displays the last picture take
and forth among the available images by pressi
right or by spinning either the front or rear con
image at a time. To quit playback, press this but
also exits playback mode automatically when yo
never be prevented from taking a picture on th
happened to be viewing an image).
otography
Flash Figure 2.15

exposure
mpensation Aperture
ISO setting
D-Range
Optimizer
White balance
Remaining
exposures
Image size/
aspect ratio
ofocus Indicator of
rea current function
of C button
e the image displayed on the LCD.

ar control dial to highlight Delete.
o confirm your action, or highlight
s button is also used in conjunction
etion of an entire folder of images.
en. Thereafter, you can move back

ing the multi-selector to the left or
ntrol dial to advance or reverse one
tton again. The Alpha DSLR-A850
ou press the shutter button (so you’ll
he spur of the moment because you
Going Topside
The top surface of the Sony Alpha D
of its own. I’ll divide them into two
in Figure 2.16:
■ Mode dial. Rotate this dial to
manual exposure modes (Auto
Manual), as well as the three nu
sure modes and options describ
■ Accessory/Flash hot shoe. Slid
need to use an on-camera flash
others from Sony, can use the m
sure, zoom setting, white balan
and the camera. There’s more on
Sony, like its Minolta predecess
shoe mount. This keeps you fr
and other accessories built for t
that are available.
Figure 2.16
Mode
dial
Neck
strap ring
DSLR-A850 has several frequently accessed controls

o groups for this discussion. The first group is shown
switch among the automatic, semi-automatic, and

o, Program, Aperture priority, Shutter priority, and
umbered user-defined settings. You’ll find these expo-
bed in more detail in Chapter 4.
de an electronic flash unit into this mount when you
h. A dedicated flash unit, like the HVL-F58AM and
multiple contact points shown to communicate expo-
nce information, and other data between the flash
on using electronic flash in Chapter 7. Unfortunately,
sors (since 1988), uses a non-standard accessory/flash
rom attaching electronic flash units, radio triggers,
the standard shoe, unless you use one of the adapters
Sensor
Accessory/ focal plane
Flash hot shoe Neck
strap ring
■ Neck strap rings. Attach your strap to these tw

■ Sensor focal plane. Precision macro or scientifi
knowing exactly where the focal plane of the se
side of the pentaprism marks that plane.
The second group, which includes more of the oper
2.17.
■ Front control dial. As I mentioned earlier, thi
speed, aperture, and numerous other settings, d
■ Shutter release button. Partially depress this bu
Press all the way to take the picture. Tapping th
has turned off the autoexposure and autofocus m
a review image is displayed on the back-pane
removes the image from the display and reactiv
cus mechanisms.
Exposure
compensation
button
Display panel
Display panel
illumination
button
White balance
button
otography
wo anchor points.
ic photography sometimes requires
ensor is. The symbol etched on the
rational controls, is shown in Figure
is versatile dial can control shutter

depending on the context.
utton to lock in exposure and focus.
he shutter release when the camera
mechanisms reactivates both. When
el color LCD, tapping this button
vates the autoexposure and autofo-
Figure 2.17
Front control
dial
Shutter release
button
Drive mode
button
ISO button
■ Exposure compensation butto
ting exposure compensation. W
controller or the front or rear c
degree of negative (darker) or p
up to three full steps in either
though you can change that se
exposure compensation button
Navi screen to set exposure com
a few additional button presses
■ Drive mode button. Press this
drive mode. Then use the up a
front control dial to select from
10- and 2-second options avail
using the rear control dial); Bra
ter press, with several options f
that you press the shutter butto
with a specified variation in wh
ing the amount of Dynamic Ra
lock the mirror in place befor
Remote Commander shooting
when using the optional RMT
more about these drive modes i
a convenient shortcut; you can
and navigating through the Qu
■ White balance button. This is
access to an important functio
Navi screen using the Fn butto
the screen for selecting among
Shade, Cloudy, Tungsten, Fluo
Custom. You navigate through
controller or with the front con
adjustments to any of the ind
detail in Chapter 5.
■ ISO button. This button gives
sitivity settings, from ISO 100 t
of these choices one line at a ti
If you prefer to speed through t
Auto to 100, then jumps in inc
EV step increments for the oth
can get to the same selection scr
the Quick Navi screen. I’ll prov
on. Press this button to go directly to a scale for set-

With this scale on the LCD display, use the multi-
control dial to move the indicator left or right to the
positive (brighter) exposure compensation you want,
r direction. By default, the increments are 0.3 EV,
etting to 0.5 EV through Recording menu 2. The
provides a very handy alternative to using the Quick
mpensation, which achieves the same result through
s.
s button to produce a screen that lets you choose a
and down motion of the multi-selector, or use the
m Single-shot adv.; Continuous adv.; Self-timer (with
lable by moving the multi-selector left and right or
acket: Cont. (three or five shots taken with one shut-
for EV increments); Bracket: Single (similar, except
on for each shot); WB bracket (a series of three shots
hite balance); DRO adv. bracket (similar, but vary-
ange Optimization); Mirror lockup (which lets you
re taking the picture, to avoid camera shake); and
g (either immediately or after a two-second delay)
T-DSLR1 Wireless Remote Commander. You’ll find
in Chapter 4. Here again, the Drive mode button is
n get to the same options by pressing the Fn button
uick Navi screen with the multi-controller.
s another of the buttons that gives you immediate
on that otherwise would require a trip to the Quick
on. With this button, one push takes you straight to
the various white balance options: Auto, Daylight,
orescent, Flash, Color Temperature, Color Filter, and
h these choices with the vertical motion of the multi-
ntrol dial. Use the rear control dial to make further
dividual settings. I’ll discuss white balance in more
you access to a menu for specifying ISO sensor sen-

to ISO 6400, plus Auto. Scroll down through the list
ime using the multi-selector or the rear control dial.
the list, use the front control dial, which moves from
crements of one full EV step, as opposed to the 1/3
her method. If you prefer not to use this button, you
reen by using the Fn button and navigating through
vide more details about ISO settings in Chapter 4.
■ Display panel. This small LCD panel on top of

deal of information, but it can serve as a useful w
camera’s operation. In shooting mode, the disp
When you are preparing to take a picture, the d
aperture, shutter speed, and number of shots re
an item such as drive mode, white balance, ISO
panel will show the settings as you make them,
you are likely to be using the dedicated button
the front control dial to make these settings, it
top of the camera, next to those buttons, to sho
playback mode, the display shows only battery
■ Display panel illumination button. Press this b
the LCD display panel on top of the camera. Pre
Underneath Your Sony Alpha

The bottom panel of your Sony Alpha is pretty bare
secures the camera to a tripod, and the battery com
the underside view of the camera.
Battery
compartment Tripod
door socket
otography
the camera does not provide a great

way to monitor some aspects of the
play varies according to the context.
display will show the battery status,
emaining. When you are adjusting
O, or exposure compensation, the
, along with battery status. Because
ns on top of the camera along with
is convenient to have a display on
ow what settings are being made. In
status.
button to turn on the backlight in
ess it again to turn off the backlight.
e. You’ll find a tripod socket, which

mpartment cover. Figure 2.18 shows
Figure 2.18
Lens Components
There’s not a lot going on with mo
modern electronic age, most of the
film era, such as autofocus options,
lenses require an on/off switch for i
the camera’s sensor components. F
components. In the following list,
found on this particular lens.
■ Lens hood bayonet (not show
that don’t use screw-mount hoo
■ Zoom ring (not shown). The l
a single focal length. On a zoom
turn this ring to change the zoo
■ Zoom scale (not shown). On a
rent focal length selected.
■ Focus ring. This is the ring you
■ Electrical contacts. On the bac
that the camera uses to commun
Figure 2.19
Focus ring
Distance scale
Aperture scale
ost Sony lenses in terms of controls because, in the

e functions previously found in lenses in the ancient
, are taken care of by the camera itself. Nor do Sony
image stabilization, because SteadyShot is built into
Figure 2.19 shows a Sony 50mm f/1.4 lens and its
I’m also going to mention some other features not
wn). This is used to mount the lens hood for lenses

ods (the majority).
lens shown here is a prime lens, which provides only
m lens, which provides a range of focal lengths, you
om setting.
zoom lens, these markings on the lens show the cur-
u turn when you manually focus the lens.

ck of the lens (see Figure 2.19) are electrical contacts
nicate focus, aperture setting, and other information.
Lens bayonet
Electrical contacts
■ Lens bayonet. This mount is used to attach the

camera body.
■ Filter thread (not shown). Lenses (including
mount) have a thread on the front for attachin
also use this thread for attaching a lens hood (yo
attach the hood to the screw thread on the front
takes filters with a 55mm diameter.
■ Distance scale (partially shown). Some upscale
and the lens shown here, have this readout tha
focus mechanism to show the distance at which
ful indicator for double-checking autofocus, rou
for setting manual focus guesstimates.
LCD Panel Readouts

The Sony Alpha DSLR-A850’s generously expansive
about everything you need to see, from your own
tional data displays. Here’s an overview of these di
displays, shown earlier in Figures 2.14 and 2.15, n
you’re shooting photos. Because the camera is equipp
sor feature, the recording information display will va
to your face, or when the viewfinder is near any oth
to produce it if you want to activate this display whe
the camera to shoot vertical pictures, the text and i
displays automatically re-orient themselves, too, for e
don’t want any display to appear on the screen whi
off by pressing the DISP button while the Enlarged
The information shown in the Detailed and Enlarg
includes the following information, with not all of
the two types of screens showing slightly different
which information is available in only the Detailed
■ Exposure mode. Shows whether you’re using
Shutter priority, or Manual mode. (If you have s
available custom settings, the screen switches to
the shooting settings that are in effect. I’ll discu
in Chapter 3.)
■ Shutter speed. Shows the current shutter speed
■ Aperture. Displays the current f/stop.
otography
e lens to a matching bayonet on the
g those with a bayonet lens hood

ng filters and other add-ons. Some
ou screw on the filter first, and then
t of the filter). The lens shown here
e lenses, including the Zeiss optics

at rotates in unison with the lens’s
the lens has been focused. It’s a use-
ughly evaluating depth-of-field, and
e 3-inch color LCD shows you just

images to a collection of informa-
isplays. The recording information
normally appear on the LCD when
ped with an always-on eyepiece sen-
anish when you bring the Alpha up
her object. (Press the DISP button
en it is not active.) When you rotate
icons on the recording information
easy viewing. If for some reason you
ile you’re shooting, you can turn it
d display is on the screen.
ged recording information displays
the data available all the time, and
types of data. I’ve indicated below
display mode.
Auto, Program, Aperture priority,
set the mode dial to one of the three
o a memory recall screen that shows
uss the use of these custom settings
d.
■ Flash mode. Provides flash mo
communicates with the camera
■ Drive mode. Shows the curren
adv.; Continuous adv.; Self-ti
Bracket: Single; WB bracket;
Commander shooting (either im
the optional RMT-DSLR1 Wi
■ Exposure compensation. Disp
Detailed display mode, the am
scale; in Enlarged mode, it’s s
Manual exposure mode, this it
indicator on the EV scale of th
Enlarged display, indicates wh
tings are in agreement with the
■ Battery status. Remaining batt
■ Image quality. Your image q
Standard, RAW, RAW+JPEG,
■ Image size/Aspect ratio. Shows
resolution JPEG images, and
aspect ratio or wide-screen 16:9
sion to indicate 16:9).
■ Memory card (Detailed displa
or Memory Stick PRO Duo ca
■ Remaining exposures. Shows t
memory card, given the curren
■ ISO settings. Indicates the sen
■ Flash exposure compensation.
pensation in effect, if any. It is
the Detailed display and by a n
■ Focus mode (Detailed only). T
or Manual focus mode, is activ
■ Autofocus area. Shows the auto
one of the nine AF areas to use
button is pressed); Spot (the ca
(you choose which of the nine
detail in Chapter 5.
ode information when you have attached a flash that

a through the hot shoe.
nt setting for drive mode, which includes Single-shot
imer (10- and 2-second options); Bracket: Cont.;
; DRO adv. bracket; Mirror lockup; and Remote
mmediately or after a two-second delay) when using
ireless Remote Commander.
plays whether exposure compensation is in effect. In
mount of EV correction is shown by an indicator and
shown by a numerical value. If you’re shooting in
tem is labeled M.M. for Metered Manual, and the
he Detailed display, or the numerical value on the
hether your manual shutter speed and exposure set-
e camera’s metering.
tery life is indicated by this icon.
quality setting (JPEG X.Fine, JPEG Fine, JPEG
cRAW, or cRAW+JPEG).
s whether you are shooting Large, Medium, or Small
whether the Alpha DSLR-A850 is set for the 3:2
9 aspect ratio (the icon changes to a “stretched” ver-
ay mode only). Indicates whether a Compact Flash

ard is being used.
the approximate number of shots remaining on the
nt shooting settings.
nsor ISO sensitivity setting.
This item shows the amount of flash exposure com-
shown by the position of an indicator on a scale in
numerical value in the Enlarged display.
Tells whether AF-S, AF-C, or AF-A autofocus mode,
ve, as described in Chapters 1 and 5.
ofocus area mode in use: Wide (the camera chooses
e, or the center area when the multi-selector’s center
amera uses the center AF area exclusively); or Local
areas to use). I’ll explain autofocus options in more
■ Metering mode (Detailed only). The icons

weighted, or Spot exposure metering. (See Cha
■ Creative Style (Detailed only). Indicates which o
applied.
■ White balance. Shows current white balance se
■ D-Range Optimizer. Indicates the degree of Dy
light/shadow enhancement) in use. The option
1-5, or Off, as described in Chapter 5.
When reviewing images you’ve taken (press the Pla
shot exposed to the LCD), the Alpha DSLR-A850 s
can select from among three different information
press the DISP button while the image is on the scre
single image display with no data shown at all (Figu
full recording data (Figure 2.21); and single image d
and thumbnails of five images at the top of the scre
four preceding or succeeding images (Figure 2.22).
the histogram, you can summon it, along with deta
press of the C button on the back of the camera.
Figures 2.20, 2.21, 2.22 Image playback displays include

information, and single image with limited recording inform
Looking Inside the Viewfinder

Much of the important shooting status information
the Sony Alpha DSLR-A850. As with the displays s
this information will be shown at any one time. Figu
to see when you’re preparing to take a picture with y
of these readouts later in this book, with those pertai
those relating to flash in Chapter 7.
otography
represent Multi segment, Center

apter 4 for more detail.)
of the Creative Style settings is being
etting.
ynamic Range Optimization (high-
ns are Standard, Advanced, Levels
ayback button to summon the last

shows you a picture for review; you
n overlays. To switch among them,
een. The LCD will cycle among the
ure 2.20); single image display with
display with limited recording data
een, including the current one and
As noted earlier, if you want to see
ailed recording information, with a
e single image, single image with full recording

mation with five thumbnail images.
n is shown inside the viewfinder of

shown on the color LCD, not all of
ure 2.23 shows what you can expect
your current settings. I’ll explain all
ining to exposure in Chapter 4, and
Figure 2.23 S
met
a
Autofocus area
Autofocus
sensors
Manual focus
Wireless flash
Flash charging
Flash High- Focus Shutter Ap

compensation speed speed
sync
These readouts include the followin

■ Image area for 16:9 aspect ra
and bottom of the viewfinder,
when the Alpha is set to shoot
Chapter 3.
■ AF area. The four brackets sho
sors operate.
■ Autofocus sensors. The nine sm
the positions of the main senso
other sensors in this same gene
can select the appropriate focus
as described in Chapters 1 and
Spot Center Image area

tering autofocus for 16:9
area spot aspect ratio
perture EV AE Shots Camera SteadyShot 16:9

scale lock remaining shake scale aspect
warning ratio
ng:
atio. These four lines, arranged in pairs at the top
, can be used as your guideline for framing images
using a 16:9 (HDTV) aspect ratio, as described in
ow the area in which the Alpha’s nine autofocus sen-
mall lines in the center of the viewfinder area show

ors used by the Alpha to focus. (There also are ten
eral area that are not visible to the user.) The camera
s zone for you, or you can manually select the zone,
d 5.
■ Autofocus center spot. This marks the ninth aut

sensor that operates in both horizontal and vert
■ Flash charging indicator. This icon flashes wh
shoe is charging, and it is solidly lit when the fl
■ Flash exposure compensation. This symbol ap
been made, if a compatible flash unit is attache
■ Wireless flash. This icon appears when you are
attached to the camera but linked through wire
capability in Chapter 7.
■ High-speed sync. You can synchronize Sony’s e
speed using high-speed sync mode. This icon
mode. Read about it in Chapter 7.
■ Manual focus. The MF indicator appears when
ual focus, using the switch on the side of the cam
ual focus lens.
■ Focus status. Shows current focus status: an illum
a circle flanked by round brackets when focus
following the movement of a non-stationary ob
the camera is still focusing; or a flashing circle
and has locked the shutter release.
■ Shutter speed/aperture readouts. These readou
and aperture.
■ EV scale. This scale shows the current exposure
when the exposure is correct as metered. The in
right to indicate negative or positive exposure c
posure when you are shooting in Manual exposu
sure bracketing, three or five indicators appear
exposure of each bracketed image.
■ Camera shake warning. If the Alpha DSLR-A8
AUTO, Program, or Aperture priority mode),
speed is so slow that camera shake is likely to ca
use SteadyShot or to mount your camera on a tr
a faster shutter speed.
otography
tofocus sensor, which is a cross-type

tical directions.
hen a flash unit attached to the hot
lash is fully charged.
ppears when flash EV changes have
ed via the camera’s hot shoe.
e using an external flash that is not
eless mode. You can read about this
external flash units with any shutter

n appears when you are using that
n you have set the camera for man-

mera, or when you are using a man-
minated circle when focus is locked;

is confirmed, but the Alpha is still
bject; a set of circular brackets when
when the Alpha is unable to focus
uts show the current shutter speed
e level, with the indicator centered

ndicator will also move to the left or
compensation, or under- or overex-
ure mode. When you are using expo-
r on the scale, showing the relative
850 is selecting the shutter speed (in

this alert appears when the shutter
ause blurring. That’s your signal to
ripod. Or, you can find a way to use
Here’s one point to watch out for: I
not give you the shake warning, eve
to avoid blurring. The camera’s tho
speed; I hope you know what you’re
see the bars indicating the degree t
though, if SteadyShot is turned on.
■ SteadyShot scale. When Steady
of camera shake that SteadySh
“bars” on the scale. You should w
ing, as that indicates that came
■ 16:9 aspect ratio. This indica
images using the cropped 16:9
ratio.
■ Shots remaining. Displays a nu
be taken continuously (that is,
current settings. If that numbe
single digit available and canno
able varies with the Quality se
RAW, you can expect to shoot
will keep shooting, but at a slo
One particularly helpful feature of t
provides information when you are
buttons on the top right of the came
pensation, drive mode, white balan
you adjust them, without a need to
In Manual or Shutter priority mode, the camera will

en if you have chosen a shutter speed that is too slow
ought process here is, “Okay, you picked this shutter
e doing; I’m not going to say anything.” You will still
to which SteadyShot is correcting for camera shake,
.
yShot is active, this scale shows the relative amount
hot is dealing with. High levels of shake show more
wait until the number of bars decreases before shoot-
era shake is under control.
ator shows that you have set the Alpha to capture
9 (HDTV) aspect ratio, rather than the normal 3:2
umber that indicates the number of frames that can

, with drive mode set to Continuous adv.) using the
er is greater than 9, the display shows 9; it has only a
ot go higher than that. The number of shots avail-
etting of your images. For example, when shooting
about 16 images at full speed; after that, the camera
ower rate.
the viewfinder of the Sony DSLR-A850 is that it also
e changing settings. For example, if you use the four
era to adjust their respective settings (exposure com-
nce, and ISO), those settings appear in the display as
o remove your eye from the viewfinder.
This page intenti
ionally left blank
Setting
Alp
The Sony Alpha DSLR-A850 has a
use to customize the way your came
tings used at the time the picture
behaves. This chapter will help you
include the Recording and Playback
of its shooting features to take a ph
show you how to use the Custom m
we’ll explore the use of the Setup
brightness of the LCD display, man
This book isn’t intended to replace
I any interest in rehashing its conte
standby reference that lists every
detail—without really telling you ho
is, however, some unavoidable dup
because I’m going to explain all the
using them. You should find, thoug
a much more helpful format, with
tings that are particularly difficult t
I’m not going to waste a lot of space
chapters. For example, you can pr
Audio signals option deals with th
during various activities (such as co
3
g Up Your Sony
pha DSLR-A850
a remarkable number of options and settings you can
era operates. Not only can you change shooting set-
is taken, but you can adjust the way your camera
sort out the settings for all the Alpha’s menus. These
k menus, which determine how the Alpha uses many
hoto and how it displays images on review. I’ll also
menu to fine-tune the use of various controls. Finally,
menu to adjust power-saving timers, control the
nage file-numbering, and several other options.
the manual you received with your Alpha, nor have
ents. You’ll still find the original manual useful as a
possible option in exhaustive (if mind-numbing)
ow to use those options to take better pictures. There
plication between the Sony manual and this chapter,
e key menu choices and the options you may have in
gh, that I will give you the information you need in
plenty of detail on why you should make some set-
to understand.
e on some of the more obvious menu choices in these
robably figure out, even without my help, that the
he solid-state beeper in your camera that sounds off
onfirmation of focus and the self-timer countdown).
You can certainly decipher the import of the two opt

setting (On and Off ). In this chapter, I’ll devote no
blatantly obvious settings and concentrate on the mo
such as Autofocus. I’ll start with an overview of usin
Anatomy of the Sony Alpha’s M

The Alpha DSLR-A850 has one of the best-designe
in its price class, with a remarkable amount of con
Sony product line. The menu system will be quite
tion to anyone who has used the Alpha DSLR-A70
several of the menu options are different, as would
A850, which, as a professional-level camera, does not
such as scene modes or a built-in flash unit.
The Sony Alpha DSLR-A850 has a series of four
multiple numbered screens of entries: Recording 1-
Setup 1-4, for a total of 13 menu screens. You’ll n
menu screen to see all the entries, because you can sc
of the menu system and navigate easily from one n
each of which is fully contained within the space of t
to the bottom of any given menu, and then past th
matically to the first entry at the top of the next sc
while you’re reviewing a menu, you may need to wa
ter release button.
The menus are very easy to access. Just press the M
left corner of the back of the camera, and use the le
tor to highlight the menu tab you want to access, an
the multi-selector to highlight the menu entry you w
quicker to scroll horizontally through the various m
control dial, and to navigate up and down through th
control dial. What could be easier?
Of course, not everything is set using these menus
direct setting controls, such as buttons that bypass th
vide quick access to some features. For example, the d
pensation, and ISO settings can be accessed by press
to those functions on the top right of the camera. A
ments are available when you press the Fn (Function)
Navi screen, introduced in Chapters 1 and 2 and di
chapter.
otography
tions available for the Audio signals

more than a sentence or two to the
ore confusing aspects of Alpha setup,
ng the Alpha’s menus themselves.
Menus
ed menu systems of any digital SLR
nsistency with other cameras in the
familiar in its structure and opera-
00, for example, though, of course,
be expected with a camera like the
t include some features of the A700,
separate tabbed menus, each with

-4, Custom 1-3, Playback 1-2, and
never need to scroll down within a
croll horizontally across the top line
numbered menu screen to the next,
the LCD display. If you scroll down
he last entry, you’ll be taken auto-
creen. If the camera goes to “sleep”
ake it up again by tapping the shut-
Menu button, located in the upper-

eft/right motion of the multi-selec-
nd then use the up/down motion of
want. Alternatively, you may find it
menu tabs and screens with the rear
he individual screens with the front
s. The Alpha DSLR-A850 also has

he multilayered menu system to pro-
drive, white balance, exposure com-
sing the dedicated buttons assigned
And even more direct-access adjust-
) button, which produces the Quick
iscussed in more detail later in this
When working with any of these di
lighting bar with the up/down mot
to the menu item you want to work
to select the item. A submenu wit
appear. Within the submenu optio
the front control dial, and sometim
ting, and then press the multi-sele
made. Press the Menu button again
Recording Menu 1/2/

The various direct setting buttons an
such as autofocus mode, metering
sure compensation. These are likel
changes during a particular shootin
quent use of the camera’s Quick Na
ing Dynamic Range Optimization,
discussing the Quick Navi screen la
After the direct settings with button
it’s likely that the Recording menu o
when you’re using your Sony Alpha
shooting session, or when you mov
accessing these changes very easy.
Figure 3.1 shows the Recording me
The next section explains the optio
use them.
■ Image size
■ Aspect ratio
■ Quality
■ D-Range Optimizer
■ Custom button
■ Creative Style
■ Color Space
■ Flash mode
■ Flash control
■ Flash compensation
■ Exposure step
Chapter 3 ■ Setting Up Your Sony Alpha DSLR-A850 59
ifferent menus, after you’ve moved the orange high-

tion of the multi-selector (or the front control dial)
k with, press in on the multi-selector’s center button
th a list of options for the selected menu item will
ons, you can scroll with the multi-selector (or with
mes also with the rear control dial) to choose a set-
ector’s center button to confirm the choice you’ve
n to exit the menu system.
/3/4 Options
nd switches on the Alpha DSLR-A850 control items
mode, drive mode, ISO, white balance, and expo-
ly to be the most common settings you make, with
ng session fairly common. You also may make fre-
avi screen to change those items and others, includ-
, image quality and size, and Creative Styles. (I’ll be
ater in this chapter.)
ns and switches and the use of the Quick Navi screen,
options are those that you access next most frequently
a. You might make such adjustments as you begin a
ve from one type of subject to another. Sony makes
enu 1.
ons of the four Recording menu screens and how to
■ ISO Auto Range

■ AF-A setup
■ AF area
■ Priority setup
■ AF illuminator
■ AF w/ shutter
■ Long exposure NR
■ High ISO NR
■ Memory
■ Rec mode reset
Image Size
Options: Large, Medium, and Small
Default: L:24M (Large)
Here you can choose between the A850’s Large, Me
your JPEG images. (For RAW or cRAW images, the
those images are always at maximum resolution.) Se
up/down multi-controller or the front or rear contr
press the multi-selector’s center button to confirm y
of these options depends on whether you’re using t
optional 16:9 HDTV aspect ratio (described next).
The top half of the table shows the image sizes when
camera’s full-frame sensor; the bottom half of the tab
are using only the APS-C area on the sensor, which i
designed for cameras with the smaller sensor.
There are few reasons to use anything other than the
the DSLR-A850, even if reduced resolution is suffi
photo ID cards or web display. Starting with a full-si
for cropping and fixing problems with your image ed
otography
Figure 3.1
The Sony
Alpha DSLR-
A850’s
Recording
menu 1.
edium, and Small image settings for

ere is no Image size setting, because
elect this menu option, and use the
rol dial to choose L, M, or S. Then
your choice. The resolution of each
the standard 3:2 aspect ratio or the
. Table 3.1 provides a comparison.
n you are using the full extent of the
ble shows the image sizes when you
is the case when you are using a lens
e Large setting when shooting with

icient for your application, such as
ize image gives you greater freedom
ditor. An 800 × 600-pixel web image
Table 3.1 Image Sizes Available on the DS
Full Frame Megapixels 3:2 Resolution 3:

Format Aspect Ratio Aspect Ratio
Large (L) 24 MP 6048 × 4032
Medium (M) 13 MP 4400 × 2936
Small (S) 6.1 MP 3024 × 2016
APS-C Format
Large (L) 11 MP 3984 × 2656
Medium (M) 5.6 MP 2896 × 1928
Small (S) 2.6 MP 1984 × 1320
created from a full-resolution origin

a reduced resolution of, say, 1984 ×
Of course, the Medium and Small f
pictures onto your memory card,
Small image size is 6.1 MP, a size
approaches the maximum of some v
sizes might come in handy in situat
have the opportunity to offload the
ple, if you’re on vacation and plan to
olution can let you stretch your mem
6.1 MP Small shots in JPEG Fine q
time, however, it makes more sens
camera at its maximum full-frame r
Aspect Ratio
Options: 3:2, 16:9 aspect ratios
Default: 3:2
The aspect ratio is simply the prop
The standard aspect ratio for digit
two-thirds as tall as it is wide. The
mon snapshot size in the USA, 4 ×
8 × 10-inch enlargement, you’ll ne
larger paper and end up with an 8
SLR-A850
:2 Megapixels 16:9 Resolution 16:9

Aspect Ratio Aspect Ratio
21 MP 6048 × 3408
11 MP 4400 × 2472
5.2 MP 3024 × 1704
nal often ends up better than one that started out at

× 1320 pixels.
full-frame settings make it possible to squeeze more
and when you’re working with an A850, even the
that is nothing to sneeze at—it’s a resolution that
very fine cameras of the last few years. Smaller image
tions where your storage is limited and/or you don’t
e pictures you’ve taken to your computer. For exam-
o make only 4 × 6-inch snapshot prints, a lower res-
mory card’s capacity. The A850 can fit 1,174 of those
quality mode onto a 4GB memory card. Most of the
se to simply buy more memory cards and use your
resolution.
portions of your image as stored in your image file.

tal photography is approximately 3:2; the image is
ese proportions conform to those of the most com-
6 inches. Of course, if you want to make a standard
eed to trim some image area from either end, or use
× 12-inch print. However, chances are you will be
quite happy with the 3:2 aspect ratio, because you ar

digital SLR that has a native 3:2 aspect ratio. The
approximately 36mm × 24mm, the same as a frame
If you’re looking for images that will “fit” a wide-scre
inition television, the DSLR-A850 can be switched to
ratio that is much wider than it is tall. The camera p
top and bottom of the frame, and storing a reduced r
3.1). Your 24 MP image becomes a 21 MP shot in
graph is trimmed to 11 MP. If you need the wide-scr
save you some time in image editing, but you can
(or any other aspect ratio) by trimming a full-resolu
the other basic menu choices in this chapter, just na
selector’s center button, choose the option you want
ter button again to confirm your choice.
Quality
Options: RAW, cRAW, RAW & JPEG, cRAW & J
Default: Fine
You can choose the image quality settings used by
files. You have seven options to choose from within th
& JPEG, cRAW & JPEG, Extra Fine, Fine, and Stan
JPEG formats.) Here’s what you need to know to ch
■ JPEG compression. To reduce the size of your
to be stored on a given memory card, the Alpha
sion to squeeze the images down to a smaller
image quality a little, so you’re offered your choic
compression. Extra Fine should really be your
image quality of the three JPEG options.
■ JPEG, RAW (or cRAW), or both. You can elec
images you shoot (Fine and Standard), or you can
RAW files, which consume considerably more sp
can store both formats at once as you shoot.
option, a bit later. For these purposes, consider
tographers elect to save both JPEG and a RAW f
a JPEG version that might be usable as-is, as we
RAW file in case they want to do some processi
with two different versions of the same file: one w
the ARW extension that signifies a Sony RAW.
otography
re lucky enough to own a full-frame

e full-frame sensor of the A850 is
e of 35mm film.
een computer display, or a high def-
o produce images with a 16:9 aspect
performs this feat by cutting off the
resolution image (as shown in Table
n 16:9 mode, and a 13 MP photo-
reen look, the 16:9 aspect ratio will
also achieve the same proportions
ution image in your editor. As with
avigate to the entry, press the multi-
t, and press the multi-selector’s cen-
JPEG, Extra Fine, Fine, Standard
the Alpha DSLR-A850 to store its

his menu entry: RAW, cRAW, RAW
ndard. (The three latter options are
hoose intelligently:
image files and allow more photos
a DSLR-A850 uses JPEG compres-
size. This compacting reduces the
ce of Extra Fine, Fine, and Standard
standard, because it offers the best
ct to store only JPEG versions of the

n save your photos as “unprocessed”
pace on your memory card. Or, you
(I’ll talk about cRAW, your other
r it the same as RAW.) Many pho-
file (RAW & JPEG), so they’ll have
ell as the original “digital negative”
ing of the image later. You’ll end up
with a JPG extension, and one with
As I noted under Image size, there
and Small resolution settings, and s
JPEG compression setting. They al
so you can shoehorn quite a few m
come in useful when on vacation
shooting non-critical work that doe
real estate listings, web page display,
tographers like to record RAW+JPE
while retaining access to the origina
But for most work, using lower reso
never know when you might actual
is to have enough memory cards to
have the chance to transfer your ph
JPEG vs. RAW

You’ll sometimes be told that RAW
camera produces, before it’s been m
unprocessed than your camera film
a negative or transparency. A lot ca
ity of a film image—positively and n
goes a significant amount of processi
a name (BIONZ) to the dual digita
magic in the Sony Alpha DSLR-A8
A RAW file is more similar to a film
mation, with no compression, no
other settings you might have spec
stored with the RAW file so they can
compatible with your favorite imag
such as Adobe Camera Raw or Sony
settings and apply settings of your o
that you might have specified in yo
RAW exists because sometimes we
by the camera, before the camera’s
image to a standard file format. RAW
do is preserve all the information ca
analog to digital form.
So, why don’t we always use RAW? A
format, it’s more common to use eit
and eschew RAW altogether. Whil
needs to be fine-tuned, in other situ
e are some limited advantages to using the Medium

similar space-saving benefits accrue to the Standard
ll allow stretching the capacity of your memory card
more pictures onto a single memory card. That can
and you’re running out of storage, or when you’re
esn’t require full resolution (such as photos taken for
, photo ID cards, or similar applications). Some pho-
EG Extra Fine so they’ll have a JPEG file for review,
al RAW file for serious editing.
olution and extra compression is false economy. You
lly need that extra bit of picture detail. Your best bet
o handle all the shooting you want to do until you
hotos to your computer or a personal storage device.
W files are the “unprocessed” image information your

modified. That’s nonsense. RAW files are no more
m is after it’s been through the chemicals to produce
an happen in the developer that can affect the qual-
negatively—and, similarly, your digital image under-
ing before it is saved as a RAW file. Sony even applies
al image processing (DIP) chips used to perform this
850.
m camera’s processed negative. It contains all the infor-
sharpening, no application of any special filters or
cified when you took the picture. Those settings are
n be applied when the image is converted to a form
ge editor. However, using RAW conversion software
y’s Image Data Converter SR, you can override those
own. You can select essentially the same changes there
our camera’s picture-taking options.
want to have access to all the information captured
s internal logic has processed it and converted the
W doesn’t save as much space as JPEG. What it does
aptured by your camera after it’s been converted from
Although some photographers do save only in RAW

ther RAW plus the JPEG option, or just shoot JPEG
le RAW is overwhelmingly helpful when an image
uations working with a RAW file can slow you down
significantly. RAW images take longer to store on th

post-processing effort, whether you elect to go with
the picture was taken, or make minor adjustments.
As a result, those who depend on speedy access to im
of photos at once may prefer JPEG over RAW. Wed
might expose several thousand photos during a brida
as electronic proofs for inclusion in an album. Wedd
sure that their in-camera settings are correct, minim
tos after the event. Given that their JPEGs are so goo
down shooting RAW. Sports photographers also avo
JPEG was invented as a more compact file format t
tion in a digital image, but in a much smaller size.
and was initially used to squeeze down files for tran
tions. Even if you were using an early dSLR with 1.
raphy, you didn’t want to send them back to the off
But, as I noted, JPEG provides smaller files by com
that loses some image data. JPEG remains a viable
different quality levels. At the highest quality Extra F
tell the difference between the original RAW file and
compression, you’ll usually notice a quality loss when
ping your image tightly.
In my case, I shoot virtually everything at RAW &
concerned about filling up my memory cards, as I
memory cards with me. If I know I may fill up all
operated personal storage device that can copy a typ
mentioned earlier, when shooting sports I’ll shift to
file) to squeeze a little extra speed out of my Alpha’s
reduce the need to wade through long series of pho
other hand, on my last trip to Europe, I took only
images onto my netbook, as I planned on doing at l
of the images for a travel book I was working on.
RAW vs. cRAW

With the Sony Alpha DSLR-A850, you have one m
cRAW format, in which the “c” stands” for “compr
just got finished discussing how RAW files are unco
varying degrees of compression, which lowers their qu
files. Now along comes cRAW. How can a RAW file
Well, chalk one up to the expertise of computer scien
to preserve the benefits of the RAW format but sque
otography
he memory card, and require more

h the default settings in force when
mages or who shoot large numbers

dding photographers, for example,
al affair and offer hundreds to clients
ding shooters take the time to make
mizing the need to post-process pho-
od, there is little need to get bogged
oid RAW files for similar reasons.
that can store most of the informa-
JPEG predates most digital SLRs,
nsmission over slow dialup connec-
.3 megapixel files for news photog-
fice over a modem at 1,200 bps.
mpressing the information in a way
alternative because it offers several
Fine level, you might not be able to
d the JPEG version. With Standard
n making big enlargements or crop-
& JPEG. Most of the time, I’m not

I usually have a minimum of three
those cards, I have a tiny battery-
pical card in about 15 minutes. As I
o JPEG Extra Fine (with no RAW
continuous shooting mode, and to
otos taken in RAW format. On the
RAW photos and transferred more
least some post processing on many
more quality option to consider: the

ressed.” This is a bit confusing. We
ompressed, whereas JPEG files have
uality somewhat compared to RAW
be compressed, yet not be a JPEG?
ntists, who indeed figured out a way
eeze significantly more files into the
same amount of digital storage ca
Compact Flash card, I can store a
approximately 627 cRAW files on t
be stored in JPEG Extra Fine quali
In working with RAW and cRAW
ity. The one possible caveat to bear i
a few cRAW shots with your preferr
can process this format before you
problems using cRAW with Adobe
solid format. If your software recog
the added number of shots that can
PRO Duo cards.
MANAGING LOTS OF FILES

The only long-term drawback to sho
it’s easy to fill up your computer’s ha
what I do. My most recent photos ar
folder, say Alpha-01, with subfolder
100202Groundhog, for pictures of g
utility called Allway Sync copies new
backup as soon as they appear.
When the top-level folder accumula
DVDs and then move the folder to
have already been backed up onto D
the working hard drive and repeat th
image taken, either on another hard
D-Range Optimizer
Options: Off, Standard, Advance
The brightness/darkness range of m
capturing both the brightest highli
DSLR-A850 is able to expand its dy
which is available in Standard and
menu, select Standard to achieve a
shadows and correct for a highly c
“intelligent” setting, in which the ca
contrast in those areas where lighte
also can select Advanced at levels 1
apacity. For example, on my A850, with a 16GB

about 423 RAW files on the card, but I can store
the same card, only 60 fewer than the 687 that can
ity.
files, I have found no noticeable difference in qual-
in mind when using cRAW is that you should check
red photo-editing software to make sure the program
u take hundreds of important shots. I have had no
e Photoshop CS4, though, and it seems to be a very
gnizes it, there’s no reason not to take advantage of
n be stored on your Compact Flash or Memory Stick
ooting everything in RAW (or cRAW) & JPEG is that

ard drive if you are a prolific photographer. Here’s
re stored on my working hard drive in a numbered
rs named after the shooting session, such as
groundhogs taken on February 2, 2010. An automatic
w and modified photos to a different hard drive for
ates about 30GB of images, I back it up to multiple

a drive dedicated solely for storage of folders that
DVD. Then I start a new folder, such as Alpha-02, on
he process. I always have at least one backup of every
d drive or on a DVD.
ed Auto, Advanced Levels 1-5

many images is so broad that the sensor has difficulty
ight areas and the darkest shadow areas. The Alpha
ynamic range using the D-Range Optimizer feature,
Advanced options from this menu entry. From the
a general reduction in contrast so as to lighten the
contrasty scene. Select Advanced Auto for a more
amera’s circuitry will analyze the image and alter the
ening of the shadows appears to be beneficial. You
through 5, which will apply corrections at the level
you choose, regardless of whether the camera believe

that the use of Advanced Auto may slow down con
Optimization does not affect RAW files except whe
and examples to explain this feature further in Chap
Custom Button
Options: AF lock, AF/MF control, Optical previe
balance, exposure compensation, flash compensa
size, Quality, Creative Style, D-Range Optimizer
Default: Creative Style
This menu option lets you reassign the function of
the back of the camera, just below the multi-select
convenient to your right thumb, so it’s a good idea
your shooting preferences. Of course, you may wish t
of Creative Style, which has the advantage of letting
get from pressing the button, but give this some th
want to set the button to call up ISO, white balance
mode, all of which have their own dedicated buttons
sion really boils down to what type of shooting you
most often.
Creative Style
Options: Standard, Vivid, Neutral, Clear, Deep, L
Night view, Autumn leaves, B/W, Sepia
Parameters: Contrast, Saturation, Sharpness, Bri
Default: Standard
The Creative Style option lets you choose from the
tions of contrast, saturation, sharpness, brightness, a
adjusts the image to avoid under- or overexposure)
tweak those five parameters to your own taste. Then
tings from among the 13 and assign those to semi-pe
From the Creative Style menu option, use the up/do
trol dial to scroll to the preset style you want. If you
no further adjustments, press the center button of
choice, then start shooting. If you want to tweak any
to the right portion of the menu screen with the mu
then move to the parameter(s) you want to change, a
as you wish.
otography
es any correction is necessary. Note

ntinuous shooting. Also, D-Range
en set to Standard. I’ll provide tips
pter 5.
ew/Intelligent preview, ISO, white

ation, Drive mode, AF area, image
r, flash mode, memory
the C button, which is located on

tor. This is a prime location, quite
to select a function for it that suits
to stick with the default assignment
g the “C” stand for the function you
hought. I would suggest you don’t
e, exposure compensation, or drive
s on top of the camera. So, the deci-
u do, and what settings you change
Light, Portrait, Landscape, Sunset,
ightness, Zone
above 13 different preset combina-

and Zone matching (a function that
). This option also lets you further
n you can take your six favorite set-
ermanent slots in the menu system.
own multi-selector or the front con-
want to shoot using that style with
the multi-selector to confirm your
y or all of the five parameters, move
ulti-selector or the rear control dial,
and move their values up and down
As I noted, you can assign any one
that are available on the menu. For
numbered style, Neutral, to Deep.
■ From the Recording menu 1 (o
C button), highlight Creative S
tor to select it.
■ Using either the multi-selector
block down to the third numb
■ With the Neutral style highligh
control dial to move the highlig
the list of styles. The Neutral s
assignment of the third numbe
■ Use the multi-selector’s stick or
want as the new assignment fo
steps until the Deep style is hig
■ If you look over at the left side
listed as style number 3. Now yo
eters on the right side of the sc
■ When you’re done making cha
tem. Now you have the Deep
accessible, and Neutral has bee
I explain the “looks” of each of the
Color Space
Options: sRGB/Adobe RGB
Default: sRGB
The Alpha DSLR-A850’s Color Sp
Recording menu, gives you the ch
gamuts), one named Adobe RGB (b
and the other named sRGB (suppo
These two color gamuts define a sp
your Alpha captures.
You’re probably surprised that the A
see. Unfortunately, that’s impossible
ters used to capture the fundament
phosphors used to display those col
of the 13 styles to any one of the six numbered slots

example, let’s suppose you want to change the third
Here are the steps to follow:
or from the Quick Navi screen or from pressing the
Style, then press the center button of the multi-selec-
r’s stick or the front control dial, move the highlight

bered entry, Neutral.
hted, use either the multi-selector’s stick or the rear
ght block into the right side of the menu screen, on
style will be highlighted, because that is the current
ered slot.
r the front control dial to scroll to the style that you
or this numbered slot. In this case, scroll down two
ghlighted.
e of the menu screen, you will see that Deep is now
ou can go ahead and tweak that style with the param-
creen, or change the assignments to other slots.
anges, press the Menu button to exit the menu sys-
style added to your list of six styles that are readily
en temporarily sent to the sidelines.
Creative Style options in Chapter 5.
pace option, the last entry on the first page of the

hoice of two different color spaces (also called color
because it was developed by Adobe Systems in 1998),
osedly because it is the standard RGB color space).
pecific set of colors that can be applied to the images
Alpha doesn’t automatically capture all the colors we

e because of the limitations of the sensor and the fil-
tal red, green, and blue colors, as well as that of the
lors on your camera and computer monitors. Nor is
it possible to print every color our eyes detect, becau

absorb and reflect colors perfectly.
Instead, the colors that can be reproduced by a give
space that exists within the full range of colors we ca
by the odd-shaped splotch of color shown in Figure
international organization back in 1931. The colors
resented by the larger, black triangle in the figure, wh
by the smaller white triangle.
Regardless of which triangle—or color space—is us
16.8 million different colors that can be used in you
contain all 16.8 million!) But, as you can see from
be different.
Adobe RGB is what is often called an expanded colo
range of colors that is spread over a wider range of t
useful for commercial and professional printing.
ADOBE RGB vs. sRGB

You might prefer sRGB, which is the default for the So
suited for the colors displayed on a computer screen an
sRGB setting is recommended for images that will be o
printer, or at a retailer’s automated kiosk.
Adobe RGB is an expanded color space useful for com
and it can reproduce a wider range of colors. It can als
to be extensively retouched within an image editor. Yo
“upgrade” your camera to Adobe RGB, because image
your monitor and, it is likely, significantly different fro
the photo to your personal inkjet.
Strictly speaking, both sRGB and Adobe RGB can rep
number of colors (16.8 million when reduced to 8 bits
ture). Adobe RGB spreads those colors over a larger sp
crayons in which some of the basic colors have been re
not in the original box. The “new” gamut contains a la
cyan-green portion of the box, a better choice for repro
yellow inks at commercial printers, rather than the red
of your computer display.
otography
use the inks or pigments used don’t
en device are represented as a color

an see. That full range is represented
e 3.2, as defined by scientists at an
s possible with Adobe RGB are rep-
hile the sRGB gamut is represented
sed by the Alpha, you end up with

ur photograph. (No one image will
the figure, the colors available will
or space, because it can reproduce a

the visual spectrum. Adobe RGB is
ony Alpha cameras, as it is well

nd viewed over the Internet. The
output locally on the user’s own
mmercial and professional printing,

so be beneficial if an image is going
ou don’t need to automatically
es tend to look less saturated on
om what you will get if you output
produce the exact same absolute

s per channel from the original cap-
pace, much like a giant box of
emoved and replaced with new hues
arger proportion of “crayons” in the
oduction with cyan, magenta, and
d, green, and blue picture elements
Figure 3.2
The outer fig-
ure shows all
the colors we
can see; the
two inner out-
lines show the
boundaries of
Adobe RGB
(black triangle)
and sRGB
(white
triangle).
Flash Mode
Options: Autoflash, Fill-flash, Re
Default: Fill-flash
The Flash mode option, the first en
Figure 3.3), is, of course, of use onl
era, although you can set some of t
However, you can only set the auto
You can set the Fill-flash option if y
sure reading is. Rear sync. is a speci
with other flash topics. Wireless is a
camera flash with a unit that is inse
capability. I will discuss this topic i
Flash Control
Options: ADI flash, Pre-flash TT
Default: ADI flash
This is a technical setting that can
have a need to change it. ADI stand
using a lens that includes a distance
computation of the flash output. I
ear sync., Wireless
ntry on the second page of the Recording menu (see

ly when you have a flash unit connected to the cam-
the options regardless of whether a flash is attached.
oflash option when the shooting mode is set to Auto.
you want the flash to fire no matter what the expo-
ialized setting that I will discuss in Chapter 7 along
a setting to be used when you are controlling an off-
erted into the camera’s hot shoe and that has wireless
in Chapter 7 also.
TL
be left untouched unless you happen to know you

ds for Advanced Distance Integration. When you are
e encoder, this function may result in more accurate
discuss this option in Chapter 7.
Flash Compensation
Options: Flash compensation from –3 to +3 f/sto
Default: 0
This feature works like exposure compensation (discu
to dial in more or less exposure when using the flash
is too dark or too light, access this menu entry. Pre
right, or use the front or rear control dial, to reduc
press the multi-selector’s center button to confirm y
compensation adjustment, the amount of your com
pointer in the lower half of the exposure scale in th
display, and the Flash Compensation icon will be ill
ever a compatible flash unit is attached to the came
flash is attached, the setting will not show up on the
itive or negative amount of flash compensation.)
To nullify your flash compensation, return to this m
to the center of the scale.
otography
Figure 3.3
The Sony
Alpha’s
Recording
menu 2.
ops
ussed in Chapter 4), and allows you

h. If your photo (such as a test shot)
ess the multi-selector to the left or
ce or increase flash exposure; then
your choice. If you’ve made a flash
mpensation will be indicated by a
he Detailed recording information
luminated in the viewfinder, when-
era’s hot shoe and turned on. (If no
display, even if you dialed in a pos-
menu entry and return the pointer

Exposure Step
Options: 0.3 EV, 0.5 EV
Default: 0.3 EV
This option lets you set the size of t
flash exposure compensation, shutt
EV, and the alternative possibility of
prefer to have larger jumps in your
of 0.3 EV with the default setting. N
that appears on the Quick Navi sc
marks between numerical settings. T
is for 0.3 EV because the tick marks
0.5 EV, though, the indicator will m
a value of EV 2.5.
ISO Auto Range

Options: 400-1600, 400-800, 200
Default: 200-800
You can set the ISO sensitivity of th
6400, or to Auto, in which case th
on the existing shooting conditions
its on both the highest and lowes
Because image noise tends to increa
you may want to set the ISO Auto R
really want to maximize quality and
Chapter 4.
AF-A Setup
Options: AF-A, DMF
Default: AF-A
The first option on the third page of
This option has one very specific p
mode to Direct Manual Focus (DM
will disengage the autofocusing m
focus, as you might want to do wh
macro shooting, or similar situatio
normal manual focusing, and my
the gap between settings of exposure compensation,

ter speed, and aperture, with a default setting of 0.3
f 0.5 EV. Change this setting to 0.5 EV if you would
r exposure settings, rather than the finer increments
Note that you will not see any change in the EV scale
creen, which always includes two intermediate tick
Therefore, the EV scale always looks as if the setting
s are spaced in thirds. If you set the exposure step to
move to a spot between the two tick marks, for, say,
0-1600, 200-800, 200-400
he Alpha DSLR-A850 to any value between 100 and

he camera chooses an appropriate ISO setting based
s. With the ISO Auto Range setting, you can set lim-
st ISO settings that the camera can choose from.
ase with ISOs above 800, if image quality is crucial
Range to a level that ends at 800, or even 400 if you
d minimize noise. I’ll discuss ISO in more detail in
f the Recording menu (see Figure 3.4) is AF-A setup.

purpose—to allow you to set the camera’s focusing
MF). With DMF, the camera will autofocus, but then
mechanism to let you make fine adjustments to the
hen working with a very narrow depth-of-field, in
ons. There is no particular advantage to DMF over
own suggestion is just to use Manual focus if you
believe you’re going to end up making the final ad

thing to note: if you’re using a Sony SSM (Super So
SAL 70-200mm f/2.8 Telephoto Zoom lens, you c
this menu option, because the lens has its own DM
focus manually.
AF Area
Options: Wide, Spot, Local
Default: Wide
The Alpha DSLR-A850 includes nine autofocus se
portion of the viewfinder. You can elect to have the
sensors to use, you can select the sensor yourself, o
point (either always or only when you press the con
tips for choosing the best AF area mode from a
Chapter 5.
otography
Figure 3.4
The Sony
Alpha’s
Recording
menu 3.
djustments manually anyway. One

Sonic wave motor) lens, such as the
can use DMF even without setting
MF mode that will let you adjust the
ensors positioned about the central

e Alpha always choose which of the
or you can use the center autofocus
ntroller’s center button). You’ll find
among Wide, Spot, and Local in
Priority Setup
Options: AF, Release
Default: AF
This setting gives you the option o
can release the shutter. For exampl
unable to confirm that the subject
rapidly. With priority set to its defa
means that, until the camera has de
you take the picture. You can press
be saying (or thinking), “I’m sorry,
ter until the picture is in focus. I’m
want to give the camera that much
case, the camera will take the pictur
down, with the attitude of, “Well, I
like fuzzy pictures, that’s up to you
AF Illuminator
Options: Auto, Off
Default: Auto
The AF illuminator is a red light tha
is insufficient light for the Alpha’s a
unit is attached to the hot shoe, th
extra light from the AF illuminator
Auto, allows the AF illuminator to w
Change this setting to Off when yo
location where you don’t want to ca
that the AF illuminator doesn’t wor
ofocus is used with a moving subjec
will it work with lenses with foca
Finally, it does not function when
a focus spot other than the center o
AF w/ Shutter
Options: On/Off
Default: On
Normally, as you know, when you
an autofocus mode, the camera foc
prefer not to have the camera re-foc
of letting either you or the camera decide when you

le, when using continuous autofocus, the camera is
t is in focus, possibly because the subject is moving
ault of AF, the camera uses autofocus priority. This
etermined that your subject is in focus, it will not let
the shutter button all you want, but the camera will
, pal, but you told me not to let you press the shut-
m just doing what you asked me to do.” If you don’t
control over your life, set priority to Release. In that
re whenever you press the shutter button all the way
I’m not sure this picture is in focus, but, hey, if you
u.”
at fires from the LED near the hand grip when there
autofocus mechanism to zero in. (If an external flash
he camera uses the flash’s illuminator instead.) The
r helps the camera focus sharply. The default setting,
work any time the camera judges that it is necessary.
ou would prefer not to use this feature, such as in a
all attention to the camera (or to yourself ). Also note
rk when using AF-C focus mode, or when AF-A aut-
ct (which means it has shifted into AF-C mode). Nor
al lengths and zoom settings of 300mm or longer.
you have set the AF area to Local, and have chosen
one.
press the shutter button down halfway when using

cuses. There may be some situations in which you
cus every time you press the shutter button halfway;
for example, if you are taking multiple pictures in a

same distance, there is no need to put an extra burde
on the battery. So, you can set AF w/shutter to Off,
ter button halfway, the camera will adjust the exposu
the focus at all. If for some reason you need to re-c
activated, you can press in on the center button of
will autofocus again.
Long Exp. NR/High ISO NR

Options: On/Off
Default: On
I’ve grouped these two menu options together, beca
slightly different circumstances. Moreover, the cause
overlapping processes.
Your Alpha DSLR-A850 can reduce the amount of
but, at the same time eliminate some of the detail alo
choices let you choose whether to apply noise reduct
second and/or to apply noise reduction to exposure
1600 and above), or to turn it off when you want t
little extra noise.
Visual noise is that awful graininess that shows up as
this setting helps you manage it. In some ways, noi
in some high-speed photographic films. However,
times used as a special effect, it’s rarely desirable in a
The visual noise-producing process is something like
then rolling down all the windows. You’re adding so
while increasing the CD player’s volume may help a
unfavorable signal to noise ratio that probably mu
notes) that you really want to hear.
The same thing happens when the analog signal is am
information in the signal, but boosting the backgrou
in a very faint or distant AM radio station on your ca
After a certain point, turning up the volume furthe
There’s a similar point of diminishing returns for d
nal amplification as well.
These processes create several different kinds of noise
from high ISO settings. As the captured information
sensitivities, some random noise in the signal is amp
mation. Increasing the ISO setting of your camera r
otography
a laboratory or studio at exactly the

en on the autofocus mechanism and
and then, when you press the shut-
ure if appropriate, but will not move
check the focus while this option is
the multi-selector, and the camera
ause they work together, each under

es and cures for noise involve some
f grainy visual noise in your photo,

ong with the noise. These two menu
tion to exposures of longer than one
es made at high ISO settings (ISO
to preserve detail even if it means a
multicolored specks in images, and

ise is like the excessive grain found
while photographic grain is some-
a digital photograph.
e listening to a CD in your car, and
onic noise to the audio signal, and
a bit, you’re still contending with an
utes tones (especially higher treble
mplified: You’re increasing the image

und fuzziness at the same time. Tune
ar stereo. Then turn up the volume.
er no longer helps you hear better.
digital sensor ISO increases and sig-
e. As I noted, noise can be produced

n is amplified to produce higher ISO
plified along with the photon infor-
raises the threshold of sensitivity so
that fewer and fewer photons are n
increases the chances of one of thos
life light particles, too.
A second way noise is created is th
allow more photons to reach the se
sites will react randomly even thoug
sensor remains switched on for the
takenly recorded as if it were a barr
While noise reduction is often a goo
exposures (one second or more) and
delay caused by the noise reductio
time as the exposure itself ) interfere
NR. For example, you might be sho
the camera mounted on a tripod,
cause the pounding water to blur s
tions of your photos, you can switc
Memory
This selection, the first in the Recor
useful tool. With the Memory opti
use for a particular shooting situatio
dial. In effect, with this function y
that you create by yourself, and th
needs. The power of this option ste
be saved for instant recall. Here is t
drive mode, ISO, white balance, ex
the position of the Local AF area, an
the steps to follow to create a custo
■ Set up your shooting options
A850 with all of its shooting op
to be when you call up this grou
photographing tabletop models
tings, say, Manual exposure at 1
balance, D-Range Optimizer se
■ Register these options. Leavi
Menu button to enter the men
the rear control dial to Recordin
press the multi-selector’s center
That screen will be displaying
needed to register as an exposed pixel. Yet, that also

se phantom photons being counted among the real-
hrough longer exposures. Extended exposure times

ensor, but increase the likelihood that some photo-
gh not struck by a particle of light. Moreover, as the
longer exposure, it heats, and this heat can be mis-
rage of photons.
od thing, you might want to turn it off for both long
d high ISOs to preserve image detail, and when the
on process (it can take roughly the same amount of
es with your shooting. Or, you simply may not need
ooting waves crashing into the shore at ISO 200 with
using a neutral density filter and long exposure to
slightly. To maximize detail in the non-moving por-
ch off long exposure noise reduction.
rding menu 4 (see Figure 3.5), is a very powerful and

ion, you can save almost all of the settings that you
on, and then recall them with one twirl of the mode
you are given three custom-crafted shooting modes
hen can use whenever one of them fits your current
ems from the fact that so many shooting settings can
the list of items that can be stored: exposure mode,
xposure compensation, metering mode, focus mode,
nd all items on the four Recording menus. These are
om shooting setup:
s. The first order of business is to set up the DSLR-
ptions, listed above, exactly the way you want them
up of custom settings. For example, suppose you are
s in your workshop, and you always use the same set-
1/125 second at f/5.6, Single-shot AF, Tungsten white
et to standard, and Creative Style set to Vivid.
ing the camera set up just as you have it, press the
nu system, then navigate with the multi-selector or
ng menu 4. With the top item, Memory, highlighted,
r button. You will see the screen shown in Figure 3.6.
the settings currently registered to the highlighted
otography
Figure 3.5
The Sony
Alpha’s
Recording
menu 4.
Figure 3.6
Use the
Memory
option on
Recording
menu 4 to store
three complete
sets of shooting
settings that
can be recalled
instantly by
turning the
mode dial to
number 1, 2,
or 3.
number at the top left, which
tor to scroll down through two
currently in effect for items suc
others. When you’re satisfied t
numbered slot you wish to regis
tor or either control dial to high
Press in on the center button of
tings are now registered to that
■ Recall your settings whenever
register your settings for shooti
been out taking action photos
balance, Continuous autofocu
Program exposure mode. Rathe
settings for your indoor shootin
you’re done. The camera is set
type of shooting session.
You’ll probably find several great u
menting before you find three sets
three available slots on the mode di
change to any of the settings, just
desired changes. Then go to the Mem
new settings to that slot on the dial
There is one side effect of using this
get what steps you’ve taken for a pa
when you call up a set of shooting
be set up in a way that conflicts wit
switches for metering mode and fo
that are called up from the camera
another setting, such as P, A, S, or M
ical switches. (You don’t have this is
Memory feature.)
Rec Mode Reset

Options: Reset, Cancel Reset
Default: None
If you’ve made a lot of changes to yo
to the factory settings so you can st
menus and restoring everything. Th
will be 1 at this point. You can use the multi-selec-

o more screens that display the other settings that are
ch as aspect ratio, autofocus setup, flash control, and
that you have the settings you want, choose which
ster your current settings to, and use the multi-selec-
hlight number 1, 2, or 3 at the top left of the screen.
f the multi-selector to confirm your choice. Your set-
t numbered slot on the mode dial.
r you want to. Let’s say you chose slot number 2 to
ing the tabletop models, and we’ll say you have just
of your children for posterity, using Daylight white
us, D-Range Optimizer set to Advanced Auto, and
er than having to go through changing each of those
ng session, just twist the mode dial to number 2, and
t up with all of the parameters you selected for this
uses for this feature, but it may take a bit of experi-

s of shooting options that you want to store in the
ial. That’s no problem; anytime you want to make a
t turn the mode dial to the number and make the
mory option on Recording menu 4 and register your
l.
s feature that might cause you some worry if you for-
articular shooting session. What can happen is that,
settings using the Memory feature, the camera can
th the settings of the physical dials. In particular, the
ocus mode may be set differently from the settings
a’s memory. Once you turn the mode dial back to
M, the camera will revert to the settings on the phys-
ssue with SteadyShot; that setting is not saved by the
our Alpha’s shooting settings, you may want to return

tart over without manually going back through the
his menu selection lets you restore all of the default
settings for your main (and some not-so-main) sho

compensation, white balance (Auto), drive mode, I
ratio (3:2), quality (Fine), and many others. Note th
you have the mode dial set to P, A, S, or M.
Custom Menu 1/2/3 Options

The three screens of the Custom menu allow you t
A850 operates. If you’d like the front control dial to a
ter speed by default in Manual mode, you can choos
change the order of your bracketed exposures, that
17 menu entries overall in the Custom menu’s scr
options for setting things up just the way you prefer
■ AF/MF button ■ Dial exposur
■ AF/MF control ■ Control dial
■ AF drive speed ■ Button opera
■ AF area display ■ Release w/o
■ Focus Hold Button ■ Recording in
■ Auto review ■ Exposure com
■ Preview Function ■ Bracket orde
■ AEL button ■ Custom rese
■ Control dial setup
AF/MF Button
Options: AF/MF control, AF lock
Default: AF/MF control
This first option on Custom menu 1 (see Figure 3.7)
function of the AF/MF button, which is located jus
By default, the function is set to AF/MF control, wh
button, the camera switches from Autofocus to Man
on which of these settings is currently active. In othe
era’s focus mode switch to select Manual focus, but n
mechanism just once to lock focus for a particular s
niently located button, and the camera will lock foc
if you have set the camera to Autofocus but need to
this button and turn the focusing ring on the lens.
otography
ooting settings, including exposure

ISO (Auto), Image size (L), aspect
hat this option will only work when
to specify how your Alpha DSLR-

adjust the aperture rather than shut-
se that behavior. Or, if you’d like to
t choice is available here. There are
reens, giving you a wide variety of
r.
re compensation
l lock
ations
Card
nformation display
mpensation set
er
et
) gives you the ability to change the

st to the left of the rear control dial.
hich means that when you press the
nual focus or vice-versa, depending
er words, if you have used the cam-
now would like to use the Autofocus
shot, you can just press this conve-
cus for you, if possible. Conversely,
o focus manually for one shot, press
Figure 3.7
The Sony
Alpha’s Custom
menu 1.
If you set the function of the AF/M

that case, pressing the button will
setting can be useful if you have use
ter setting, so the camera does not a
You can use the AF/MF button to c
AF/MF Control
Options: Hold, Toggle
Default: Hold
This option works in conjunction
when that button is set to AF/MF c
to hold down the AF/MF button to
versa. If you switch the setting to T
change the focus mode, and press a
is still available on the menu if you
no practical effect in that case.)
MF button to AF lock, then it has a different role. In

lock focus, no matter what focus mode is set. This
ed the Recording menu 3 to turn off the AF w/ shut-
autofocus when you press the shutter button halfway.
carry out autofocus lock in that case.
with the AF/MF button function, discussed above,

control. If you set this option to Hold, then you have
o change from Autofocus to Manual focus, or vice-
Toggle, then you just press and release the button to
and release again to change back. (Note: This option
u have set the AF/MF button to AF lock, but it has
AF Drive Speed
Options: Fast, Slow
Default: Fast
This setting supposedly controls whether your auto
to the Sony instruction manual, the Slow setting is p
because it gives the system a better chance to confir
clear that there’s any real difference between these t
you’re having difficulty in focusing when shooting
better off just leaving this option set to Fast.
AF Area Display
Options: 0.6 sec, 0.3 sec, Off
Default: 0.3 sec
You have to hand it to Sony for letting you really fin
ence. The only purpose of this option is to let you sp
cator in the viewfinder stays illuminated in red whe
the Local setting. The default is a very brief 0.3 seco
second if you want to have a more definite indication
for autofocusing. You can turn the illumination off
Focus Hold Button

Options: Focus hold, Optical preview, Intelligen
Default: Focus hold
This function is of use only when you are using a len
ton. This setting specifies the effect of pressing tha
hold, pressing the button on the lens holds the foc
two settings select either Optical preview or Intellige
trolled by the camera’s Preview button. The Preview
Auto Review
Options: Off, 2 seconds, 5 seconds, 10 seconds
Default: 2 seconds
The Sony Alpha DSLR-A850 can display an image
the photo is taken. (When you shoot a continuous
the last picture exposed is shown.) While this im
otography
ofocusing is fast or slow. According

preferable when shooting closeups,
rm sharp focus. In practice, it’s not
two settings. So, unless you believe
closeups with a macro lens, you’re
ne-tune your picture taking experi-

pecify how long the focus zone indi-
en the camera is autofocusing using
ond, but you can change this to 0.6
n of which location the camera used
altogether if you want.
nt preview
ns equipped with a focus hold but-

at button. With the default, Focus
cus at its current setting. The other
ent preview, which also can be con-
w functions are discussed below.
e on the LCD for your review after

or bracketed series of images, only
mage is displayed, you can delete a
disappointing shot by pressing the
shutter release or by performing ano
ing another picture because you we
be used to specify whether the revi
onds, or not at all.
Depending on how you’re working
don’t plan to glance at each picture
examination (when you’re carefully
not want to have the review image
in a darkened theater or concert ve
distracting to others. Turning off pi
power. You can always review the
Playback button.
Preview Function
Options: Intelligent (preview), O
Default: Intelligent preview
This function controls what happ
located on the right side of the front
to be pressed by a finger of your left
the button. The two choices are In
the menu, so the choice presented to
view. With Optical preview, the Prev
view button of traditional film SLR
camera stops the aperture down to
so you can see in the viewfinder wha
ing aperture. If you didn’t have that
viewfinder with the widest open ap
tell what the actual depth-of-field w
act like a traditional SLR, set this m
of film cameras and depth-of-field
If you select the Intelligent preview
but, in addition, you have a powerf
before you take a picture. I discuss
Delete key, or cancel picture review by tapping the

other function. (You’ll never be prevented from tak-
ere reviewing images on your LCD.) This option can
iew image appears on the LCD for 2, 5, or 10 sec-
g, you might want a quick display (especially if you

e as it’s taken), or you might prefer a more leisurely
y checking compositions). Other times, you might
displayed at all, such as when you’re taking photos
enue, and the constant flashing of images might be
icture review or keeping the duration short also saves
last picture you took at any time by pressing the
Optical preview
pens when you press the Preview button, which is

t of the camera, below the lens, but which is intended
t hand, snaking around underneath the lens to reach
ntelligent preview (the word “preview” doesn’t fit on
o you is just the word “Intelligent”) and Optical pre-
view button acts essentially as the depth-of-field pre-
Rs. In other words, when you press the button, the
the actual metered (or manually selected) aperture,
at depth-of-field will be achieved at the actual shoot-
button available, you would be looking through the
perture of your lens, and you would not be able to
would be. So, if you want the Alpha DSLR-A850 to
menu option to Optical preview and re-live the days
preview.
setting, you still get the benefits of Optical preview,
ful feature available that lets you tweak your settings
its use in Chapter 4.
AEL Button
Options: AEL hold, AEL toggle, Spot AEL hold,
Default: AEL hold
This option, the first one on the Custom menu 2 (se
of the AEL (auto exposure lock) button, located at t
the right of the viewfinder. With the default setting,
button your exposure is locked only as long as you ho
option to AEL toggle, then you can just press the b
sure will stay locked until you press and release it ag
same as the first two, except that the camera is switch
the AEL button is active (either held or toggled, dep
otography
, Spot AEL toggle
ee Figure 3.8), affects the operation

the top of the camera’s back, just to
AEL hold, when you press the AEL
old down the button. If you set this
button and release it, and the expo-
gain. The other two options are the
hed into Spot metering mode while
pending on your choice).
Figure 3.8
The Sony
Alpha’s Custom
menu 2.
Ctrl Dial Setup
Options: Front dial shutter speed/
dial aperture
Default: Front dial shutter speed/
The purpose of this menu item is t
which controls aperture when you a
mode, using the Program Shift func
front dial and aperture with the rear
setting has no effect when you are
mode, because you have only one s
speed or aperture), and that settin
mode, you can’t change either shut
this setting has no effect in that cas
Dial Exp. Comp

Options: Off, Front dial, Rear dia
Default: Off
With this option, you can use the
pensation, as an alternative to usin
camera or the Quick Navi menu, w
back of the camera. If you set either
dial in your desired amount of exp
out having to press any button first
using exposure compensation often
down on button presses. This optio
mode, because you need both dials
exposure compensation in Manual
make that setting using the exposur
Ctrl Dial Lock

Options: On, Off
Default: On
When this feature is turned on, it d
ing them has no effect on your sett
viewfinder. The idea is to avoid ha
/Rear dial aperture, Rear dial shutter speed/Front
/Rear dial aperture

to set which control dial controls shutter speed and
are shooting in M (Manual exposure) or P (Program)
ction. By default, you set the shutter speed with the
r dial; the other setting reverses those functions. This
shooting with Shutter priority or Aperture priority
setting to make in each of those cases (either shutter
ng can be made using either dial. In Auto shooting
tter speed or aperture with the front or rear dials, so
se, either.
al
front or rear control dial to control exposure com-

ng the exposure compensation button on top of the
which requires that you push the Fn button on the
r of the control dials using this option, you can then
posure compensation by just turning the dial, with-
t. This can be a desirable option if you expect to be
n during a particular shooting session; you can cut
on does not work when you are shooting in Manual
s to adjust shutter speed and aperture. You can use
mode, as is discussed in Chapter 4, but you have to
re compensation button or the Quick Navi screen.
deactivates the front and rear control dials so turn-

tings unless the exposure values are displayed in the
aving a setting changed accidentally by bumping or
turning a dial. It’s hard to think of a situation in wh

larly useful, especially since other buttons and swit
control dials, which have limited functions anyway
turned off.
Button Ops.
Options: Exclusive disp, Quick Navi
Default: Exclusive disp
With the default setting of Exclusive display, pressi
tons (exposure compensation, drive, white balance,
is exclusive to that setting. For example, pressing the
adjusting white balance, with no other options avai
ting for this menu option, Quick Navi, changes this
say, the ISO button, the screen that pops up is the
option highlighted and ready to set by pressing in on
and then making your setting. The advantage with t
you make the setting for the button you pressed (say,
Navi screen, and can go on to make settings of oth
want to try this feature both ways, and see which one
you more efficient in changing your settings.
Release w/o Card

Options: Enable, Disable
Default: Enable
By default, this feature is enabled, allowing you to
though no memory card is installed in the camera. If
the shutter with no card installed, you will get an e
saying the shutter is locked. I can’t think of too ma
want or need to release the shutter with no card inst
this feature as a general practice. If it’s enabled, you’
you pay attention to the messages on the recording
but there’s a chance you’ll miss the messages and ke
your images are being stored. If there’s no card in th
don’t leave this option enabled unless you have a go
otography
hich this feature would be particu-

tches are not deactivated, only the
y. I recommend leaving this feature
ing the camera’s direct setting but-

, ISO, or C) produces a screen that
e ISO button brings up a screen for
ilable on that screen. The other set-
s behavior so that, when you press,
e Quick Navi screen, with the ISO
n the multi-selector’s center button
the Quick Navi option is that after
ISO), you are already on the Quick
her shooting parameters. You may
e feels more comfortable and makes
o press and release the shutter even

f you disable it and then try to press
error message on the LCD display
any situations in which you would
talled, so you’re better off disabling
u’ll notice that no card is installed if
info display and the image display,
eep clicking happily away, thinking
he camera, you’ll be out of luck, so
ood reason to do so.
Rec. Info. Disp.
Options: Auto rotate, Horizontal
Default: Auto rotate
When you hold the camera vertical
down), by default the recording inf
to a vertical configuration so that y
the rotated screen. If you change th
This, of course, is strictly a matter
like to have to look for information
ally, I prefer to be able to read the d
this setting on Auto rotate.
Exp. Comp. Set

Options: Ambient & flash, Ambi
Default: Ambient & flash
This first setting on the Custom men
a flash unit that is attached to the ca
Figure 3.9
The Sony
Alpha’s Custom
menu 3.
lly so the handgrip is pointed straight up (or straight

formation display on the LCD automatically rotates
you can still read the information right-side-up on
his setting to Horizontal, the display does not rotate.
r of personal preference. Some photographers don’t
n in a somewhat unfamiliar configuration; person-
display without tilting my head sideways, so I leave
ient only
nu 3 (see Figure 3.9) is useful only when you are using

amera and communicates with it electronically. With
the default setting of Ambient & flash, the camera wi

exposure settings—shutter speed, aperture, and ISO
mode), but also the amount of flash. With the settin
adjust only your exposure settings, and will leave th
Unless you have a particular reason to use the Ambien
ter to leave this setting on Ambient only, so you can
through your own judgment, rather than leaving bot
Bracket Order
Options: 0 → – → +, – → 0 → +
Default: 0 → – → +
This option sets the order of your shots when usi
default setting, the first shot is at the metered setting
sure compensation (darker), and the third is with
(lighter). With the other setting, the first exposure is
the third lighter. If you have selected five exposures
neutral—negative—positive—more negative—mor
the order is negative to positive, with each exposure
This menu option does not apply to D-Range Opti
Custom Reset
Options: Reset, Cancel
Default: Cancel
This menu option gives you an easy way to reset all
to their default settings.
Playback Menu 1/2 Options

The Playback menu controls functions for deleting, p
images. The Playback menu has two screens; Playbac
■ Delete ■ Index print
■ Format ■ Playback Dis
■ Protect ■ Slide show
■ DPOF setup ■ Interval
■ Date imprint
otography
ill adjust, as it sees fit, not only your

O (ISO only when shooting in Auto
ng of Ambient only, the camera will
he intensity of the flash unchanged.
nt & flash setting, it is ordinarily bet-
exert more control over the settings
th of these settings to the camera.
ng exposure bracketing. With the

g, the second is with negative expo-
h positive exposure compensation
s darker, the second is metered, and
s, with the first option the order is
re positive; with the second option,
e increasing over the previous one.
imizer bracketing.
l of the items on the Custom menu
protecting, displaying, and printing

ck menu 1 is shown in Figure 3.10.
splay
Figure 3.10
The Sony
Alpha’s
Playback
menu 1.
Delete
Options: Marked images, All ima
Default: None
All of us sometimes take pictures th
you were looking into the lens and
goofed up your settings. You want
damage. While you can delete a p
Delete button, sometimes you need
menu choice makes it easy to remo
the photos on a memory card (All i
marked Protected (described below
To remove selected images, select th
submenu and use the left/right mo
dial, to scroll through your images.
the multi-selector’s center button.
image, and the number of images m
at lower left. Continue navigating f
ages
hat we know should never see the light of day. Maybe

d accidentally tripped the shutter. Perhaps you really
to erase that photo now, before it does permanent
hoto immediately after you take it by pressing the
d to wait for an idle moment to erase pictures. This
ove selected photos (Marked images), or to erase all
images). Note that neither function removes images
w in the section “Protect”).
he Delete menu item, select Marked images from the
otion of the multi-selector, or turn the front control
. When you find an image you want to delete, press
. A green trashcan icon is superimposed over your
marked for deletion is incremented in the indicator
forward and backward among the images to mark or
unmark additional shots. When you’re satisfied (or

with the really bad ones), press the Menu button
Delete on the confirmation screen to erase the ones
this process at any time by pressing the Playback bu
While you can use this menu choice to delete All
time. You’re better off using the Format command,
Format
Options: Format, Cancel format
Default: Cancel format
To reformat your memory card, choose the Format
firmation screen, and press the multi-selector’s cente
Use this command to erase everything on your mem
tem ready for use. It removes all the images on the
card’s file system by defining anew the areas of the ca
ing out defective areas, and creating a new folder in
usually a good idea to reformat your memory card i
card reader using your computer’s operating system)
erally much quicker than deleting images one by on
Protect
Options: Marked images, All images, Cancel all (
Default: None
You might want to protect images on your memory
by you or by others who may use your camera from
enables you to protect only Marked images (using
Marked images process described earlier), protect A
Cancel all, which unmarks and unprotects any phot
protection.
To protect only selected images, select the Protect
images. As with the Delete command, discussed abov
the multi-selector or the front control dial. When a
the screen, press the multi-selector’s center button
unmark an image that has already been marked). A
image. When you’ve marked all the images you want
to return to the menu screen, then select OK from
the multi-selector’s center button to confirm the op
otography
have expressed your dissatisfaction

to go back, where you can choose
s you’ve selected. You can exit from
utton.
images, the process can take some
described next.
menu entry, select OK on the con-

er button to confirm the operation.
mory card and set up a fresh file sys-
memory card, and reinitializes the
ard available for image storage, lock-
n which to deposit your images. It’s
in the camera (not in your camera’s
before each use. Formatting is gen-
ne.
(unmark all images)
card from accidental erasure, either

m time to time. This menu choice
g a procedure similar to the Delete
All images on the memory card, or
tos you have previously marked for
t menu item, and choose Marked

ve, scroll through your images using
an image you want to protect is on
n to mark it for protection (or to
key icon appears over each marked
t to protect, press the Menu button
m the confirmation screen and press
peration.
You can also use the Protect functio
the same procedure as for protectin
which causes the key icon on each i
confirm the operation as with the p
DPOF Setup
Options: Marked images, All ima
Options (Number of copies): 1-9
Options (Date imprint): On, Off
Options (Index print): Create ind
Most digital cameras are compatible
tocol, which enables you to mark
memory card (but not RAW files)
copies of each. You can then transpo
lab or do-it-yourself kiosk or use yo
images and quantities you’ve specif
There are actually three related ite
Date imprint, and Index print. Th
indicated by the lines on the menu s
setup. Here are the steps to take to
■ DPOF setup. You can choose
Selecting images is similar to t
protection. To print selected im
the multi-selector’s center butto
selector or the front control dia
each such image, press the mu
dial to the right to increment th
1 to 9. If you continue pressing
around to 0 copies again. You c
by turning the rear control dia
shows the total number of ima
of copies for the full group of m
When you have finished selec
Menu button to exit picture sel
all DPOF print selection and qu
printing, if you print photos fro
card while you shoot additiona
card of print requests so you can
ing from the same collection.
on to unprotect selected images, or all images, using

ng images; just mark the images to be unprotected,
image to fade to gray, or select All images, and then
procedure for protecting images.
ages, Cancel all (unmark all images)

9
f
dex, Delete index
e with the DPOF (Digital Print Order Format) pro-
in your camera which of the JPEG images on the
that you’d like to print, and specify the number of
ort your memory card to your retailer’s digital photo
our own compatible printer to print out the marked
fied.
ems on the Playback menu 1 screen: DPOF setup,
he last two are really submenu items of the first, as
screen that show that these items spring from DPOF
use these options.
to print All images, Marked images, or Cancel all.
the method you use to mark images for deletion or
mages, select the DPOF setup menu item, and press
on to choose Marked images. Then, using the multi-
al, browse through the images you want to print. For
ulti-selector’s center button or turn the rear control
he number of prints to be made of that image, from
g the controller button past 9 copies, the count wraps
can also reduce the count as far as zero (unselected)
al to the left. A printer icon in the lower-left corner
ages selected to print—that is, the cumulative total
marked images.
cting images and the numbers of copies, press the
lection. On the screen that appears, Cancel removes
uantity marks. The Cancel option can be useful after
om a memory card but then leave the images on the
al pictures. Removing the DPOF markings clears the
n later select additional or different images for print-
■ Date imprint. Choose this menu item to superim

when they are printed. Select On to add the dat
imprinting. The date is added during printing b
its location on the final print.
■ Index print. Choose this menu item to print yo
or more sheets of paper. The number of images
trolled by your printer. Once you have set this o
wards will not be included in the index, so you
then print the index immediately afterwards to
Playback Display
Options: Auto rotate, Manual rotate
Default: Auto rotate
By default, on playback the Sony Alpha DSLR-A850
in vertical orientation on the LCD screen so you do
them comfortably. However, this orientation also m
the image is shown using the shortest dimension of
in size. Choose Manual rotate instead, and you can
to re-orient by pressing the Fn button from the Play
Slide Show
Options: Activate show
Options (Interval): 1 second, 3 seconds, 5 second
Default: 3 seconds
This option, the first and only one on Playback me
to display all the images on your memory card us
images, or another delay period you select by choosi
1, 3, 5, 10, or 30 seconds for your interval. During t
■ Press the multi-selector’s center button to pause
show.
■ Move forward or in reverse through the images b
right or left.
■ Stop the show at any time by pressing the Men
the Slide show menu item. To stop the show an
press the Playback button.
■ Press the DISP button to toggle between full s
with date, time, and image number of the expo
otography
mpose the current date onto images

te; Off (the default value) skips date
by the output device, which controls
our images in thumbnail size on one

s per sheet and the format are con-
option, any images you shoot after-
u should select this menu item and
avoid missing any images.
0 automatically rotates pictures taken

on’t have to turn the camera to view
means that the longest dimension of
the LCD, so the picture is reduced
rotate only those photos you want
yback screen and choosing Rotate.
ds, 10 seconds, 30 seconds
enu 2 (see Figure 3.11), allows you

sing a three-second delay between
ing the Interval suboption. Choose
the show you can do the following:
the show. Press again to resume the
by pressing the multi-selector to the
nu button, which takes you back to

nd exit from the menu completely,
screen images and the same images

osure overlaid.
Figure 3.11
The Sony
Alpha’s
Playback
menu 2.
Setup Menu 1/2/3/4 O

Use the four Setup menu screens to
guage, date/time, and power saving
When you want to navigate to the
the multi-selector’s stick to the left r
menus faster than if you start out
Shooting, Custom, and Playback m
■ LCD brightness ■ Fi
■ Info. disp. time ■ Fo
■ Power save ■ Se
■ Video output ■ N
■ HDMI output ■ U
■ Language ■ M
■ Date/Time setup ■ M
■ Memory card ■ D
Options
o adjust infrequently changed settings, such as lan-
settings. The Setup menu 1 is shown in Figure 3.12.
Setup menu, after pressing the Menu button push
rather than the right, and you will arrive at the Setup
to the right and plow your way through all of the
menus first.
ile number ■ Audio signals
older name ■ Cleaning mode
elect folder ■ AF Micro Adj.
New folder ■ Focusing Screen
USB connection ■ APS-C size capt.
Mass storage card ■ Reset default
Menu start
Delete confirm.
LCD Brightness
Options: Auto/Manual: Plus or minus 2
Default: 0
When you access this menu choice, a pair of grayscale
ing you to see the effect of your brightness changes o
Use the left/right action of the multi-selector or the
the brightness of the LCD screen by up to five pos
ments. There is no automatic setting, only this ma
reach a similar adjustment screen without entering
holding the DISP button for a few seconds.
Info. Disp. Time

Options: 5 seconds, 10 seconds, 30 seconds, 1 m
Default: 5 seconds
This setting determines how long the recording in
before the Alpha switches the display off to save pow
can be restored by tapping the shutter release button
whenever your eye (or another object) gets close to
otography
Figure 3.12
The Sony
Alpha’s Setup
menu 1.
e steps appears on the screen, allow-

on the dark, light, and middle tones.
e front or rear control dial to adjust
sitive or negative (arbitrary) incre-
anual adjustment option. You can
g the menu system by pressing and
minute
nformation display remains active

wer. Then, the display vanishes but
n. Of course, the display disappears
the viewfinder.
Power Save
Options: 1 minute, 3 minutes, 5
Default: 3 minutes
This setting allows you to determi
going into Power save mode, which
just dimming the display. You can
connected to a video display throu
regardless of the time period this op
itself off, if the power switch remain
to life by performing a function, su
SAVING POWER WITH THE S

There are several settings and techni
your Alpha’s battery. These include s
and Info. disp. time options to turn
when not needed. That big 3-inch L
time it is used (either for informatio
can boost the effectiveness of your b
hand, you can often get away with lo
further increase the useful life of you
feel you don’t need it. When transfer
a card reader instead of the USB cab
ferring images using the cable takes
Video Output
Options: NTSC/PAL
Default: None
This setting controls the output of th
you’re displaying images on an exte
the United States, Canada, Mexico
countries, much of Asia, and other
of Europe, Africa, India, China, an
minutes, 10 minutes, 30 minutes
ine how long the Sony Alpha remains active before

h is essentially the same as powering off, rather than
select 1, 3, 5, 10, or 30 minutes. (If the camera is
ugh the video cable, it will shut off after 30 minutes
ption is set for.) However, even if the camera has shut
ns in the On position, you can bring the camera back
uch as pressing the shutter button halfway.
Sony Alpha
iques you can use to help you stretch the longevity of
setting the Auto review, LCD brightness, Power save,
off the LCD and/or camera as quickly as possible
LCD uses a lot of juice, so reducing the amount of
on display or for manually playing back your images)
battery. If you’re willing to shade the LCD with your
ower LCD brightness settings outdoors, which will
ur battery. The techniques? Turn off SteadyShot if you
rring pictures from your Alpha to your computer, use
ble. Linking your camera to your computer and trans-
longer and uses a lot more power.
he DSLR-A850 through the supplied AV cable when

ernal monitor. You can select either NTSC, used in
o, many Central, South American, and Caribbean
r countries; or PAL, which is used in the UK, much
nd parts of the Middle East.
VIEWING ON A TELEVISION
Sony makes it quite easy to view your images on a stan
A850, and not much more difficult on a high definitio
to buy a separate cable for HDTV.) For regular TV, ju
left side of the camera, plug the cable supplied with th
and connect the other end to the yellow VIDEO RCA
or monitor.
For HDTV display with the A850, purchase the optio
(about 5 feet long) or the VMC-30MHD (about 10 fe
HDMI Out terminal above the standard video termin
Connect the other end to an HDMI input port on you
inch HDTV has three of them; my 26-inch monitor h
camera and press the Playback button. The image will
TV/HDTV/monitor and will not be displayed on the
automatically show your images at the appropriate reso
HDMI Output
Options: HD (1080) priority, HD (720) priority
Default: HD (1080) priority
As noted above, you can view the display output of y
evision (HDTV) if you make the investment in an
connector on the camera end (which Sony does no
(which Sony does not supply with the camera, eith
HDMI, the camera automatically selects the corre
broadcast system, for viewing. However, you can us
to select one of the options shown above; in some ins
the image quality on the HDTV by changing this s
If you’re lucky enough to own a TV that supports th
tocol, you can operate the camera using that TV’s r
Menu button on the remote, and then use the dev
play an image index of photos in the camera, displ
images in the camera, specify printing options, and
screen.
otography
ndard television screen with the

on television (HDTV). (You have
ust open the video port cover on the
he camera into the Micro USB port,
A composite jack on your television
onal HDMI Cable VMC-15MHD

eet long), and connect it to the
nal on the left side of the camera.
ur television or monitor (my 42-
has just two). Then turn on the
appear on the external
camera’s LCD. HDTV systems
olution for that set.
y SD priority
your Alpha on a high definition tel-

n HDMI cable with a mini-HDMI
ot supply) and you own an HDTV
her). When connecting HDMI-to-
ect image settings, including color
se the HDMI output menu option
stances, you may be able to improve
setting.
he Sony Bravia synchronization pro-
remote control. Just press the Link
vice’s controls to delete images, dis-
lay a slide show, protect/unprotect
play back single images on the TV
Language
Options: English, French, Spanis
Default: Language of country wh
If you accidentally set a language y
sible menus, don’t panic. Just choo
menu 1, and select the idioma, ling
top of the list.
Date/Time Setup
Options: Year, Day, Month, Time
Default: None
Use this option to specify the date
along with exposure information an
and date format, but you cannot cho
than 2:32 PM, you’ll have to prete
night or noon to get to the AM/PM
Memory Card
Options: Compact Flash, Memor
Default: None
You need to set this option, the first
era will know which type of memo
you set the wrong option on this m
you won’t be able to take any pictur
ing on the setting for Release w/o
stored.) The Sony Alpha cannot use
You can, if you want, install both typ
between them using this menu settin
Navi screen.
sh, Italian, Japanese, Chinese languages

here camera is sold
you don’t read and find yourself with incomprehen-
ose the second option from the bottom of the Setup
gua, or langue of your choice. English appears at the
e, Date Format
e and time that will be embedded in the image file

nd other data. You can select year, day, month, hour,
oose AM/PM specifically. To set, say 2:32 AM rather
end you’re using a digital clock and cycle past mid-
M hours, respectively.
ry Stick
t on Setup menu 2 (see Figure 3.13), so that the cam-

ory card is installed. As I discussed in Chapter 1, if
menu, the camera will think no card is installed, and
res. (You may be able to operate the shutter, depend-
Card on Custom menu 2, but the images won’t be
e both memory cards at once, unlike some cameras.
pes of card in the camera, but you will have to switch
ng, or by pressing the Fn button and using the Quick
File Number
Options: Series, Reset
Default: Series
The Sony Alpha DSLR-A850 will automatically app
take when this option is set to Series, using consecu
over a long period of time, spanning many differe
reformat a card. Numbers are applied from 0001 t
starts back at 0001. The camera keeps track of the las
ory. So, you could take pictures numbered as high
the card and insert another, and the next picture w
new card. Reformat either card, take a picture, and
100-0242. Use the Series option when you want al
secutive numbers (at least, until your camera exceed
If you want to restart numbering back at 0001 on a
option. In that case, the file number will be reset to 0
ory card or delete all the images in a folder, insert a
the folder name format (as described in the next me
otography
Figure 3.13
The Sony
Alpha’s Setup
menu 2.
ply a file number to each picture you

utive numbering for all your photos
ent memory cards, and even if you
to 9999, at which time the camera
st number used in its internal mem-
as 100-0240 on one card, remove
will be numbered 100-0241 on the
d the next image will be numbered
ll the photos you take to have con-
ds 9999 shots taken).
a more frequent basis, set the Reset
0001 each time you format a mem-
a different memory card, or change
enu entry).
Folder Name
Options: Standard form, Date for
Default: Standard form
If you have viewed one of your m
reader, you may have noticed that
DCIM. Inside that folder is anothe
use different folder names, and they
memory card is removed from your
vendor that also accepts Compact F
create a new folder using a differen
By default, the Alpha creates its fold
followed by MSDCF. As each folde
fix that’s one higher (say, 101) is use
memory card will be named 100M
You can select Date form instead, a
10090204, where the 100 is the fo
month, and 04 is the day of that mo
oriented rather than generic, use th
Select Folder/New Fold

Options: Select folder, Create new
Default: None
Although your Alpha will create ne
new folder at any time, and switch
memory card. (But only, of course,
an easy way to segregate photos by
change the Folder name conventio
deposit each day’s shots into differe
■ Select folder. To switch to a d
able on your CF card), when y
Select folder from the menu. A
up/down motion of the multi-s
multi-selector’s center button t
■ New folder. To create a brand
Setup menu 2. Press the mu
“101090114 folder created” ap
dismiss the screen and return t
rm
emory cards’ contents on a computer using a card

t the top-level folder on the card is always named
er folder created by your camera. Different cameras
y can coexist on the same card. For example, if your
Sony camera and used in, say, a camera from another
Flash or Memory Stick cards, the other camera will
nt folder name within the DCIM directory.
ders using a three-number prefix (starting with 100),
er fills up with 999 images, a new folder with a pre-
ed. So, with the “Standard form” the folders on your
MSDCF, 101MSDCF, and so forth.
and the Alpha will use an xxxymmdd format, such as
older number, 9 is the last digit of the year, 02 is the
onth. If you want your folder names to be more date-
he Date form option instead of Standard form.
der
w folder
ew folders automatically as needed, you can create a

h among available folders already created on your
if a memory card is installed in the camera.) This is
y folder. For example, if you’re on vacation, you can
on to Date form (described previously), and then
ent folders, which you create with this menu entry.
different folder (when more than one folder is avail-
you are using Standard form folder naming, choose
A scrolling list of available folders appears. Use the
selector to choose the folder you want, and press the
to confirm your choice.
d new folder, choose Select folder/New folder from
ulti-selector’s center button, and a message like
ppears on the LCD. Press the center button again to
to the menu.
Tip
Whoa! Sony has thrown you a curveball in this folder
you are using Date form naming, you can create folder
you can’t switch among them—but only when Date fo
switch among folders named using the date convention
switch from Date form back to Standard form. Then y
able folders (of either naming format). So, if you’re on
and then choose New folder each day of your trip, if y
you want to put some additional pictures in a differen
and want the new shots to go in the same folder as tho
need to change to Standard form, switch folders, and t
bly did this to preserve the “integrity” of the date/folde
USB Connection
Options: Mass storage, PTP, Remote PC
Default: Mass storage
This option allows you to switch your USB connec
Mass Storage setting (used when you transfer imag
puter), PTP (Picture Transfer Protocol), which you
PictBridge-compatible printer, and Remote PC. In
appears to the computer as just another storage dev
and drop files between the computer’s drives and th
you’re connected to recognizes your camera and can c
happens when you use a PictBridge printer. With t
camera is connected to the computer you can oper
using the Remote Camera Control software that
Chapter 8 for more details about this option.
Most of the time, you’ll want to leave this setting at M
you’re communicating with a PictBridge printer that
trolling the camera from your computer with the re
Mass Strg. Card

Options: Selected card, Both cards
Default: Selected card
This option shows up on the camera’s menu as a sub
connection, when Mass Storage is selected as the
otography
switching business. Note that if

rs using the date convention, but
orm is active. If you do want to
n, you can do it. But you have to
you can change to any of the avail-
n that vacation, select Date form,
you like. But if, for some reason,
nt folder (say, you’re revisiting a city
ose taken a few days earlier), you’ll
then resume shooting. Sony proba-
er system, but it can be annoying.
ction protocol between the default

ges from your camera to your com-
u’d use to connect your camera to a
n Mass Storage mode, your camera
vice, like a disk drive. You can drag
his device. In PTP mode, the device
communicate with it, which is what
the Remote PC setting, when your
rate some of its functions remotely
is provided with the camera. See
Mass Storage, changing it only when

requires a PTP connection, or con-
emote control software.
boption to the previous item, USB

e option for the USB connection,
meaning that the camera’s memory
In that case, you have the option of
puter (if you have both a Compac
installed), or just the card that is c
Sony Alpha DSLR-A850, only on
Although I have never had occasio
a situation in which this would be
menu item so the camera uses both
Menu Start
Options: Top, Previous
Default: Top
This option, the first on Setup men
appears when you press the Menu b
you will always start with the first sc
ing on whether the camera is in Rec
to Previous, you will return to the l
light bar on the last item you access
Figure 3.14
The Sony
Alpha’s Setup
menu 3.
y is being used as a storage device for your computer.

f displaying the contents of both cards on the com-
ct Flash card and a Memory Stick PRO Duo card
currently selected for storage. (Remember, with the
ne card can be active, even if both are installed.)
on to install two cards in the camera, there could be
a useful option, and there’s no harm in setting this
h cards as devices that show up on your computer.
nu 3 (see Figure 3.14), controls which menu screen

button. If you leave this option set at its default, Top,
creen of the Recording or Playback menus, depend-
cording or Playback mode. If you change this option
last menu screen that was displayed, with the high-
sed. So, if you find yourself using a particular menu
screen more often than others, such as the Recordin

want to set this option to Previous so you will retur
you press the Menu button.
Delete Confirm.
Options: Delete first, Cancel first
Default: Cancel first
When you are deleting images or folders from you
will always see a confirmation screen on which you m
By default, the Cancel option is highlighted, so it is
and press the center button of the multi-selector, eith
quick reflex, you will have canceled the operation, an
the confident type and would like to save the step
Delete option, you can change this setting so the hig
option first, so all you have to do is press the button
I am a bit conservative when it comes to deleting im
Cancel first.
Audio Signals
Options: On/Off
Default: On
The Sony Alpha DSLR-A850’s internal beeper prov
ous functions, such as the countdown of your camer
of focus. You can switch it off if you want to avoid th
lite, or distracting (at a concert or museum), or un
actually had new dSLR owners ask me how to turn
makes; such an option was available in the point-an
ously. Of course, the “shutter sound” you hear is th
cannot be silenced.) Select Audio signals from Setu
press the multi-selector’s center button to confirm.
Cleaning Mode
Options: OK (flip up mirror), Cancel
Default: None
One of the Sony Alpha’s best features is the autom
reduces or eliminates the need to clean your camer
otography
ng 3 screen, for example, you might

rn directly to that screen whenever
ur memory card in the camera, you

must select either Delete or Cancel.
s the “first” option; if you go ahead
her intentionally or perhaps by over-
nd nothing will be deleted. If you’re
p of moving the highlight onto the
ghlight is positioned over the Delete
to confirm the deletion. Personally,
mages, so I leave this option set to
vides a helpful chirp to signify vari-

ra’s self-timer and the confirmation
he beep because it’s annoying, impo-
ndesired for any other reason. (I’ve
off the “shutter sound” the camera
nd-shoot camera they’d used previ-
he sound of the mirror moving and
up menu 3, choose On or Off, and
matic sensor cleaning system that

ra’s sensor manually using brushes,
swabs, or bulb blowers (you’ll find
has applied anti-static coatings to th
rior to counter charge build-ups t
vibrates ultrasonically each time the
is captured by a sticky strip beneath
When it’s time to clean the sensor m
to provide access to the compleme
Use a fully charged battery or opti
Setup menu 3. A warning screen po
Choose OK and press the multi-sele
upright and locked position, after t
and vibrates for a short time. Turn t
to return the mirror to its picture ta
AF Micro Adj.
Options: On, Off, Clear, amount
Default: Off
With any luck, you will never need
tuning focus adjustments for any i
The only reason you would need to
ing properly. Once you have attach
adjustment is registered in the cam
lens, unless you change the adjustm
to delete the adjustment for that le
dure in Chapter 5.
Focusing Screen
Options: Type G, Type M, Type L
Default: Type G
The Sony Alpha DSLR-A850 come
G. If you purchase an optional scre
change this menu setting so the cam
it measures the light. The Type M
tures; the Type L screen has a grid t
instructions on how to do that in Chapter 9). Sony

he sensor and other portions of the camera body inte-
that attract dust. A separate filter over the sensor
e Alpha is powered off, shaking loose any dust, which
h the sensor.
manually, use this menu entry to lock up the mirror
entary metal-oxide semiconductor device (CMOS).
ional AC adapter and choose Cleaning mode from
ops up: “After cleaning turn camera off. Continue?”
ector’s center button to move the mirror into its fully
the Alpha makes one last stab at automatic cleaning
the camera off (as advised by the on-screen prompt)
aking position.
to use this option. It’s designed to let you make fine-

individual lens that you use with the DSLR-A850.
do this is if you are finding that the lens is not focus-
hed a particular lens and made the adjustment, that
mera and will be in effect whenever you attach that
ment, or use the Clear option from this menu item
ens. I provide detailed instructions about this proce-
es equipped with the standard focusing screen, Type

een of one of the other types, M or L, you need to
mera will compensate for the different screen when
screen is suitable for use with lenses of wide aper-
that can be useful for composition.
APS-C Size Capture

Options: On, Off
Default: Off
The Sony Alpha DSLR-A850 is, of course, a camera
its sensor is approximately the same size as a standar
24.0mm). However, because of the camera’s heritage
tem of cameras and lenses, there are many lenses av
but that were designed for cameras using the smaller
ferent varieties of APS-C sized sensors; their size is g
you were to attach one of these lenses (such as a Mi
era, its image would not cover the A850’s full-fr
designed to produce an image that covers only the
The result would be vignetting, with the image cut
to this problem is to put the camera into APS-C siz
with this menu option, the first one on Setup menu 4
pens, the camera uses only the smaller APS-C area
and has no vignetting. However, the image has lowe
number of pixels that are used.
otography
a with a full-frame sensor, meaning

rd frame of 35mm film (35.9mm ×
e as springing from the Minolta sys-
vailable that will fit on your camera
APS-C sized sensor. (There are dif-
generally about 21mm × 14mm.) If
inolta DT series lens) to your cam-
rame sensor, because the lens was
e smaller area of the APS-C sensor.
t off at the corners. Sony’s solution
ze capture mode, which you can do
4 (see Figure 3.15). When that hap-
a on the sensor, so the image is full
er resolution because of the smaller
Figure 3.15
The Sony
Alpha's Setup
menu 4.
Now that you know all about this
because, in most cases, the camera
APS-C sensor is attached, and the
use a DT lens and see vignetting in
to correct the problem.
Reset Default
Options: OK, cancel
Default: None
You can use this menu option to res
This can be very useful if you have
like to start over with the camera in
values for all of the menu options a
list of items that will be reset, and t
the Sony instruction manual.
Quick Navi Screen

It’s time to drag out again the Alph
tioned in Chapters 1 and 2, but not
ter. That’s because several of the fu
complete descriptions within the co
discussions of AF area and Creative
those features in exhaustive detail. T
to the parts of the book that do del
The Quick Navi screen appears wh
Shooting mode—that is, when you
viewing an image in Playback mode
the image, as discussed in Chapte
recording information display that
ing mode. The differences are that a
sible on the screen, and the screen ch
which setting is ready to be adjuste
There are two slightly different v
whether the camera was using the
information display when you pres
and Enlarged displays, and a blan
Detailed version below; the Enlarge
access to three adjustments that are a
s menu option, though, you can usually ignore it,

a automatically senses when a lens designed for the
camera automatically enters this mode. If you ever
n the images it produces, try using this menu option
set all of the camera’s settings to their default values.

e been playing around with the settings and would
n its factory condition. I have mentioned the default
as I discussed them. You can also find the complete
the values they will be reset to, at pages 132-134 of
ha DSLR-A850’s Quick Navi screen that was men-

t explained in a great amount of detail in either chap-
unctions that are accessible from this screen deserve
ontext of their respective applications. For example,
e Style are best deferred to the chapters that explain
This section will provide an overview that points you
lve into the functions available from this screen.
hen you press the Fn button when the camera is in
u’re not reviewing an image on the LCD. (If you are
e, the Fn button produces a screen that lets you rotate
er 2.) The Quick Navi screen is very similar to the
appears on the LCD when the camera is in shoot-
a few more items (such as flash mode) become acces-
hanges colors, using an orange highlight box to show
ed.
versions of the Quick Navi screen, depending on
Detailed or the Enlarged version of the recording
ssed the Fn button. (You cycle between the Detailed
nk screen, using the DISP button.) I’ll discuss the
ed version is similar, except that it does not provide
available on the Detailed screen: flash mode, Creative
Style, and memory card. On either version of the Q

grayed out; those are items you cannot adjust at all
remaining, or items you cannot adjust from this sc
metering mode, which are controlled by physical sw
Settings on the Quick Navi Scree

This screen (see Figure 3.16) provides you with qui
you navigate through using the left/right or up/dow
■ Flash mode. This entry summons a submenu t
ating mode for your flash unit, such as the Fill fla
that you can make this setting even if no flash i
effective if and when a flash unit is attached. I’ll
uses in Chapter 7.
■ Exposure compensation and Flash exposure c
this block in the top center of the (Detailed) Qu
scale with indicators at the top and bottom. The
cate the exposure compensation adjustment a
otography
Quick Navi screen, some items are

l, such as battery status and images
creen, such as autofocus mode and
witches.
en
ick access to eleven settings, which
wn motion of the multi-selector.
that allows you to choose the oper-
ash mode shown in the figure. Note
is attached; the setting will become
discuss the various modes and their
compensation. When you highlight

uick Navi screen, you will see an EV
e top indicator points down to indi-
and the bottom one points up to
Figure 3.16
The Sony
Alpha’s Quick
Navi screen.
indicate the flash exposure com
ure, indicates that no compen
stick up or down to highlight ei
or the front or rear control dia
details about exposure compen
tion is discussed in Chapter 7.
■ ISO. With this option, you can
ious values ranging from 100 t
This topic is discussed in detai
■ Drive mode. On the Detailed Q
on the second line. There are s
the screen: continuous shootin
ance bracketing; D-Range Op
Commander. I discuss bracketi
other topics in Chapter 5. Th
mode set to Single-shot adv.
■ AF area. I discussed this settin
Recording menu 3. The choice
more detail in Chapter 5, in th
focus. In the figure, the AF are
■ D-Range Optimizer. The brig
that the sensor has difficulty ca
darkest shadow areas. The Alph
using the D-Range Optimizer
from this menu entry. I’ll provi
Range Optimizer is set to Adva
■ Creative Style. This option giv
saturation, sharpness, and expo
connection with the Creative
“looks” of each of these styles in
Style selected is Standard.
■ White balance. The different
balances. Indoor light, for exa
which tends to have a bluish
color/white balance that’s appr
This topic is discussed in more
3.16 shows the Auto White Ba
mpensation adjustment. A zero, as shown in the fig-

nsation has been applied. Move the multi-selector’s
ither the top or bottom indicator, then use that stick
al to make your desired adjustment. There are more
nsation in Chapter 4, and flash exposure compensa-
n set the camera’s ISO sensitivity to Auto, or to var-

to 6400. In the figure, the ISO has been set to 200.
il in Chapter 4.
Quick Navi screen, this is the first option on the left
several options available through this single item on
ng mode; self-timer; exposure bracketing; white bal-
ptimizer bracketing; mirror lockup; and Remote
ing in Chapter 4, and continuous shooting and the
he screen illustrated in Figure 3.16 shows the drive
ng earlier in this chapter, because it can be set from

es are Wide, Spot, and Local. I discuss this topic in
he discussion of the various settings and options for
ea is set to Wide.
ghtness/darkness range of many images is so broad
apturing both the brightest highlight areas and the
ha DSLR-A850 is able to expand its dynamic range
feature available in Standard and Advanced options
ide tips and examples in Chapter 5. In the figure, D-
anced Auto.
ves you thirteen different combinations of contrast,
osure zones, as I discussed earlier in this chapter in
Style item on Recording menu 1. I’ll discuss the
n Chapter 5. In the case illustrated here, the Creative
light sources you shoot under have differing color

ample, is much redder than outdoor illumination,
bias. The Alpha DSLR-A850 lets you choose the
ropriate, or can make this adjustment automatically.
detail in Chapter 5. The screen illustrated in Figure
alance setting.
■ Quality. The next block on the Quick Navi scr

images recorded by the camera, ranging from S
JPEG files to cRAW and RAW. You also can sel
quality of JPEG. I discussed this topic in detail
shown on the screen illustrated in Figure 3.16 i
■ Image size. This next block deals with the size o
ity, and applies only to JPEG files. The choices a
topic also was discussed earlier in this chapter. O
the image size shown is Large.
■ Memory card. This last option on the Detailed
which type of memory card is active in your cam
chapter, you can have both a Compact Flash a
but only one of them can be active at a time.) In
shows that a Compact Flash card is active.
otography
reen lets you pick the quality of the

Standard, Fine, and Extra Fine for
lect RAW or cRAW along with any
l earlier in this chapter. The quality
is Extra Fine.
of your images, rather than the qual-
are Small, Medium, and Large; this
On the screen shown in Figure 3.16,
d Quick Navi screen lets you specify

mera. (As I discussed earlier in this
and a Memory Stick card installed,
Figure 3.16, the Quick Navi screen
Ge
When you bought your Sony Alph

worrying about getting the correct
tagline dating back to the 19th cen
camera does the rest.” For the most
the smartest cameras available when
situations. You can generally spin th
willing to put a little more thought
Program (P), Aperture priority (A),
So, why am I including an entire ch
creatively, you’re going to find that
exposure meter and intelligence—n
sions or special situations.
For example, when you shoot with
up with backlighting, which can res
exposed subject. The Sony Alpha re
base exposure on the main subject,
Optimization (discussed in Chapte
highlights and shadows.
But what if you want to underexpos
haps, you might want to use an elec
ject. The more you know about h
4
etting the Right
Exposure
ha DSLR-A850, you probably thought your days of
t exposure were over. To paraphrase an old Kodak
ntury—the goal is, “you press the button, and the
t part, that’s a realistic objective. The Alpha is one of
n it comes to calculating the right exposure for most
he mode dial to the aqua Auto setting, but if you are
t and effort into your photography, spin the dial to
, or Shutter priority (S), and shoot away.
hapter on exposure? As you learn to use your Alpha
t the right settings—as determined by the camera’s
need to be adjusted to account for your creative deci-
h the main light source behind the subject, you end

sult in an overexposed background and/or an under-
ecognizes backlit situations nicely, and can properly
, producing a decent photo. Features like D-Range
er 5) can fine-tune exposure to preserve detail in the
se the subject, to produce a silhouette effect? Or, per-

ctronic flash unit to fill in the shadows on your sub-
how to use your Alpha, the more you’ll run into
situations where you want to creatively tweak the ex

than you’d get with an automatically produced shot
This chapter shows you the fundamentals of exposu
override the Sony Alpha’s default settings when you
rect exposure is one of the foundations of good phot
and sharpness, appropriate color balance, freedom f
contrast, as well as pleasing composition.
The Sony Alpha gives you a great deal of control ov
tion is entirely up to you. You must still frame the p
arrangement of subject matter, but all the other pa
camera. You can let your Alpha set them for you au
the camera applies its automatic settings, or you can
amount of control you have over exposure, sensiti
focus, and image parameters like sharpness and contr
for creating images.
In the next few pages I’m going to give you a groun
and explain the basics of exposure, either as an int
depending on your current level of expertise. When y
stand most of what you need to know to take well e
broad range of situations.
Getting a Handle on Exposure

In the most basic sense, exposure is all about light.
photo. Correct exposure brings out the detail in the
ing the range of tones and colors you need to create
can cloak important details in shadow, or wash th
expanses of white. However, getting the perfect exp
either that built into the camera, or the smarts in y
can’t capture all the tones we are able to see. If the r
sive, embracing both inky black shadows and bright
an exposure that renders most of those tones—but n
photo we want to produce.
For example, look at the two typical tourist snapsho
4.1. The camera was mounted on a tripod for both,
that they are two different images is by examining t
flows in the ice-free area of the foreground. Howeve
exposure. The version on the left was underexposed,
otography
xposure to produce a different look

t.
ure, so you’ll be better equipped to
u want to, or need to. After all, cor-
tography, along with accurate focus
from unwanted noise and excessive
over all of these, although composi-

photograph to create an interesting
arameters are basic functions of the
utomatically, you can fine-tune how
make them yourself, manually. The
ivity (ISO settings), color balance,
rast makes the Alpha a versatile tool
nding in one of those foundations,

troduction or as a refresher course,
you finish this chapter, you’ll under-
exposed photographs creatively in a
. Exposure can make or break your

e areas you want to picture, provid-
e the desired image. Poor exposure
hem out in glare-filled, featureless
posure requires some intelligence—
your head—because digital sensors
range of tones in an image is exten-
highlights, we often must settle for
not all—in a way that best suits the
ots presented side by side in Figure

, so the only way you can really see
the differences in the way the water
er, the pair of pictures does vary in
, which helps bring out detail in the
snow and sky in the background, b
and dark. The overexposed version o
area, but now the brightest areas of
With digital camera sensors, it’s tric
in a single image, because the numb
ited. The solution, in this particu
Dynamic Range (HDR) photograp
combined in an image editor suc
Photomatix (about $100 from www
4.2. I’ll explain more about HDR p
I’m going to concentrate on showin
out resorting to such tools, using o
Figure 4.1 At left, the image is exposed for the background

captures detail in the shadows, but the background highligh
Chapter 4 ■ Getting the Right Exposure 109
but makes the shadows of the building look murky

on the right offers better exposure for the foreground
f the building and sky are much too light.
cky to capture detail in both highlights and shadows
ber of tones, the dynamic range of the sensor, is lim-
ular case, was to resort to a technique called High
phy, in which the two exposures from Figure 4.1 were
ch as Photoshop, or a specialized HDR tool like
w.hdrsoft.com). The resulting shot is shown in Figure
photography later in this chapter. For now, though,
ng you how to get the best exposures possible with-
only the features of your Sony Alpha DSLR-A850.
d highlights, losing shadow detail. At right, the exposure

hts are washed out.
otography
Figure 4.2
Combining the
two exposures
produces the
best compro-
mise image.
To understand exposure, you need
to produce an image. Start with a l
from a campfire—and trace its path
sensor that captures the illumination
trol that affect exposure.
■ Light at its source. Our eyes an
to that portion of the electrom
several important aspects that a
ness (which is determined prim
illuminates a subject). But, in t
source is its intensity. We may h
case with an interior light that
only indirect control over inten
dimmer by introducing transluc
■ Light’s duration. We tend to
you’ll learn in Chapter 7, the du
ify the exposure, as when the m
intermittent source, such as an
■ Light reflected, transmitted,
either continuously or in a bri
by the light that is reflected fro
ted (say, from translucent objec
or television screen). When mo
need to adjust the exposure. T
extent we can increase the amo
ject (by adding extra light sour
that’s emitted (by increasing th
■ Light passed by the lens. Not
makes it all the way through. F
the lens. Inside the lens barrel i
dilates and contracts to control
Alpha’s autoexposure system, c
ture. The relative size of the ap
■ Light passing through the shu
of time the sensor receives it is d
open for as long as 30 seconds
briefly as 1/8,000th second.
to understand the six aspects of light that combine

light source—the sun, an interior lamp, or the glow
h to your camera, through the lens, and finally to the
n. Here’s a brief review of the things within our con-
nd our cameras—film or digital—are most sensitive

magnetic spectrum we call visible light. That light has
are relevant to photography, such as color, and harsh-
marily by the apparent size of the light source as it
terms of exposure, the important attribute of a light
have direct control over intensity, which might be the
t can be brightened or dimmed. Or, we might have
nsity, as with sunlight, which can be made to appear
cent light-absorbing or reflective materials in its path.
think of most light sources as continuous. But, as
uration of light can change quickly enough to mod-
main illumination in a photograph comes from an
n electronic flash.
or emitted. Once light is produced by its source,
ief burst, we are able to see and photograph objects
om our subjects towards the camera lens; transmit-
cts that are lit from behind); or emitted (by a candle
ore or less light reaches the lens from the subject, we
This part of the equation is under our control to the
ount of light falling on or passing through the sub-
rces or using reflectors), or by pumping up the light
he brightness of the glowing object).
all the illumination that reaches the front of the lens
Filters can remove some of the light before it enters
is a variable-sized diaphragm called an aperture that
l the amount of light that enters the lens. You, or the
can control exposure by varying the size of the aper-
perture is called the f/stop. (See Figure 4.3.)
utter. Once light passes through the lens, the amount
determined by the Alpha’s shutter, which can remain
s (or even longer if you use the Bulb setting) or as
■ Light captured by the sensor. Not all the light

If the number of photons reaching a particular
old, no information is recorded. Similarly, if to
the sensor, then the excess isn’t recorded or, wor
cent pixels. We can modify the minimum and m
tribute to image detail by adjusting the ISO sett
light is amplified to boost the effective sensitivi
F/STOPS AND SHUTTER SPEEDS

If you’re really new to more advanced cameras (and I re
teurs may purchase the Alpha as their first digital SLR
lens aperture, or f/stop, is a ratio, much like a fraction,
just as 1/2 is larger than 1/4. However, f/2 is actually f
remember your high school geometry, you’ll know tha
multiply its diameter by the square root of two: 1.4.)
Lenses are usually marked with intermediate f/stops th
much/half as much as the previous aperture. So, a lens
f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, with each lar
ture that admits half as much light as the one before, a
Shutter speeds are actual fractions (of a second), but th
A850’s viewfinder display and on the top LCD panel,
and so forth represent 1/60th, 1/125th, 1/250th, 1/50
avoid confusion, Sony Alpha uses quotation marks to
4", and so forth representing 2.0, 2.5, and 4.0-second
find room for the shutter speed numerators on the rea
otography
t falling onto the sensor is captured.

photosite doesn’t pass a set thresh-
oo much light illuminates a pixel in
rse, spills over to contaminate adja-
maximum number of pixels that con-
ting. At higher ISOs, the incoming
ity of the sensor.
ealize that some ambitious ama-

R), you might need to know that the
, which is why f/2 is larger than f/4,
four times as large as f/4. (If you
at to double the area of a circle, you
hat represent a size that’s twice as

s might be marked:
rger number representing an aper-
as shown in Figure 4.3.
he numerator is omitted in the
so that 60, 125, 250, 500, 1,000,
00th, and 1/1,000th second. To
signify longer exposures: 2", 2"5,
exposures, respectively. (Sony did
ar LCD display.)
Figure 4.3
Top row (left
to right): f/2,
f/2.8, f/4;
bottom row,
f/5.6, f/8, f11.
These four factors—quantity of lig
shutter is open, and the sensitivity
rocally to produce an exposure. Tha
aperture by one stop, make the shut
you’ll get twice as much exposure. S
decreasing one of the others by a si
Most commonly, exposure settings
lowed by adjusting the ISO sensitiv
(that is, the one that uses the “bes
action stopping we want). Table 4.
shutter speeds and f/stops.
Table 4.1 Equivalent Exposu

Shutter speed f/stop
1/30th second f/22
1/60th second f/16
1/125th second f/11
1/250th second f/8
When the Alpha is set for Auto mo

for you automatically. You can then
pensation control, but there is no w
pairing of shutter speed and apertu
If you’re shooting in Program (P) m
the Alpha (and of many other adva
have pressed the shutter button to o
front or rear control dial to switch t
different shutter speeds and f/stops
shutter speed, and the camera will
exposure, if possible. You will see t
top and rear LCD displays. At the
notation Ps, indicating Program Sh
If you follow the same procedure bu
will reach a similar result, except tha
mation display will be PA, for Prog
ght, light passed by the lens, the amount of time the

of the sensor—all work proportionately and recip-
at is, if you double the amount of light, increase the
tter speed twice as long, or boost the ISO setting 2X,
Similarly, you can increase any of these factors while
imilar amount to keep the same exposure.
are made using the aperture and shutter speed, fol-
vity if it’s not possible to get the preferred exposure
st” f/stop or shutter speed for the depth-of-field or
.1 shows equivalent exposure settings using various
ures
Shutter speed f/stop
1/500th second f/5.6
1/1,000th second f/4
1/2,000th second f/2.8
1/4,000th second f/2
ode, the metering system selects the correct exposure

n change the exposure by using the exposure com-
way to choose an equivalent setting using a different
ure.
mode, though, you can take advantage of a feature of
anced cameras) known as Program Shift. After you
obtain the metered exposure, you can use either the
to other exposure settings that are equivalent, using
s. If you use the front control dial, you will vary the
choose a new aperture that results in an equivalent
the new settings in the viewfinder as well as on the
upper left of the rear LCD display, you will see the
hift with Shutter priority.
ut turn the rear control dial to vary the aperture, you
at the notation at the top left of the recording infor-
gram Shift with Aperture priority.
In Aperture priority (A) and Shutter priority (S) mo

lent exposure, but only by adjusting either the aper
ter speed) or shutter speed (the camera selects the ap
you can also change to an equivalent exposure using
called Manual Shift. In that case, after manually setti
and letting the camera do its metering, you have to p
upper right of the rear LCD display. (This is a situa
Custom menu 2 to set the operation of the AEL but
hold it down.) To use Manual Shift, while the AEL
toggled), spin the front control dial to change the sh
to change the aperture. In either case, the A850 will
maintain the same exposure if possible, just as with P
camera’s selected exposure in any mode by using the
I’ll cover all these exposure modes later in the chapt
One important note to bear in mind is that Progra
flash is attached to the camera and turned on. Manu
that situation.
How the Sony Alpha Calculates

Your Alpha DSLR-A850 calculates exposure by mea
the lens using a metering pattern you can select (mo
assumption that each area being measured reflects a
neutral gray card with approximately 18-percent re
essary because different subjects reflect different a
because digital cameras are rarely calibrated for exac
between 13-14 percent is more common.
In a photo containing a white cat and a dark gray c
times as much light as the gray cat. An exposure ba
gray cat to appear to be black, while an exposure b
white cat appear washed out. Light-measuring devic
areas measured average the standard calibrated value
gray, a figure that’s been used as a rough standard for
dors calibrate their metering for exactly 18-percent
have been a standard metaphor for many years, as we
cept using a different, and more cooperative, life for
Figure 4.4 shows three types of peppers. The yellow
cat, or any object that is very light but contains det
areas. The red peppers in the center are a stand-in fo
its details in the middle tones. The green peppers s
are dark objects with detail in the shadows.
otography
odes, you can change to an equiva-

rture (the camera chooses the shut-
perture). In Manual exposure mode,
g a feature similar to Program Shift,
ing your aperture and shutter speed
press the AEL button, located at the
ation in which it’s useful to use the
tton to Toggle, so you don’t have to
button is held down (or if it’s been
hutter speed, or the rear control dial
adjust the corresponding setting to
Program Shift. You can override the
e Exposure Compensation settings.
ter.
am Shift does not function when a
ual Shift, however, does function in
s Exposure
asuring the light that passes through
ore on that later) and based on the
about the same amount of light as a
eflectance. That assumption is nec-
amounts of light. It’s approximate
ctly 18-percent reflectance; a figure
cat, the white cat might reflect five

ased on the white cat will cause the
based on the gray cat will make the
ces handle this by assuming that the
in the neighborhood of 18-percent
r many years (as I noted, not all ven-
t gray). Black, white, and gray cats
ell, so I’m going to explain this con-
rm: peppers.
w peppers at top represents a white
tail that we want to see in the light
or a gray cat, because it has most of
serve as our black cat, because they
The colors confuse the issue, so I’m
white. For the version shown in Fi
(yellow) peppers, changing its ton
(green) and medium-toned (red) p
sure was optimized for the dark (gre
into the middle-tone, 18-percent gr
pers are now too light.
The solution, of course, is to measu
that most closely correspond to the
up with a picture that more closely
and green peppers, and which look
Figure 4.4
The yellow
peppers, red
peppers, and
green peppers
represent light,
middle, and
dark tones.
Figure 4.5 Exposing for the light- Figure 4.6 Expos

colored peppers in the upper left peppers (bottom) c
renders the other two types of vegetables to becom
peppers excessively dark.
m going to convert our color peppers to black and

igure 4.5, the exposure was optimized for the white
nal value to a medium, 18-percent gray. The dark
peppers are now too dark. For Figure 4.6, the expo-
een) peppers, making most of their surface, now, fall
ray range. The yellow (light) and midtone (red) pep-
ure exposure from the object with the middle tones

18-percent gray “standard.” Do that, and you wind
y resembles the original tonality of the red, yellow,
ks, in black and white, like Figure 4.7.
sing for the dark Figure 4.7 Exposing for the

causes the other middle-toned red peppers produces
me too light. an image in which the tones of all
three subjects appear accurately.
In the real world, you could calculate exposure the h

tings by pointing your Alpha at an evenly lit object
palm of your hand (the backside of the hand is too v
exposure by one stop in the latter case, because the hu
reflects about twice as much light as a gray card. As
tical to use your Alpha’s system to meter the actual s
F/STOPS VERSUS STOPS

In photography parlance, f/stop always means the apert
lack of a current commonly used word for one exposu
used. (In the past, EV served this purpose, but exposur
been inextricably intertwined with describing exposure
when I say “stop” by itself (no f/), I mean one whole un
sarily referring to an actual f/stop or lens aperture. So,
stop” can mean both changing to the next shutter spee
second to 1/250th second) or the next aperture (such a
or 1/2 stop increments can mean either shutter speed o
the context. Be forewarned.
In most cases, your camera’s light meter will do a goo

sure, especially if you use the exposure tips in the ne
ble-check, or feel that exposure is especially critical,
of known reflectance, such as a gray card. To meter p
the metering method (how light is evaluated) and exp
shutter speeds and apertures are chosen). I’ll describ
Choosing a Metering Method

The Alpha DSLR-A850 has three different schemes
its exposure sensors. You can choose among them b
rounds the AEL button, at the upper-right corner o
■ Multi segment. The Alpha slices up the frame
arranged in a honeycomb pattern, as shown in
the measurements to make an educated guess
taking, based on examination of exposure data
ent real-world photos. For example, if the top se
than the bottom portions, the algorithm can as
photo with lots of sky. This mode is the best all-
pictures.
otography
hard way, and arrive at accurate set-

t, such as an actual gray card or the
variable). You’ll need to increase the
uman palm—of any ethnic group—
s you’ll see, however, it’s more prac-
scene.
ture or lens opening. However, for

ure increment, the term stop is often
re value and its abbreviation have
e compensation.) In this book,
nit of exposure, and am not neces-
adjusting the exposure by “one
ed increment (say, from 1/125th
as f/4 to f/5.6). Similarly, 1/3 stop
or aperture changes, depending on
od job of calculating the right expo-

ext section. But if you want to dou-
take the light reading off an object
properly, you’ll want to choose both
posure method (how the appropriate
be both in the following sections.
s for evaluating the light received by

by turning the little switch that sur-
of the LCD display.
e into a total of 40 different zones,
n Figure 4.8. The camera evaluates
about what kind of picture you’re
a derived from thousands of differ-
ections of a picture are much lighter
ssume that the scene is a landscape
-purpose metering method for most
Figure 4.8
Multi segment
metering uses
40 zones.
■ Center weighted. In this mode

ter of the frame to calculate ex
for most pictures, the main sub
works best for portraits, archite
important subject is located in
light reading is weighted toward
from the rest of the frame. If yo
dark areas, the exposure might
well in many situations if you d
■ Spot. This mode confines th
viewfinder, as shown in Figure
exposure on a small area in the
cert. If that area is in the center
to make your meter reading an
halfway (or by pressing the AE
e, the exposure meter emphasizes a zone in the cen-

xposure, as shown in Figure 4.9, on the theory that,
bject will be located in the center. Center weighting
ectural photos, and other pictures in which the most
the middle of the frame. As the name suggests, the
ds the central portion, but information is also used
our main subject is surrounded by very bright or very
t not be exactly right. However, this scheme works
don’t want to use one of the other modes.
he reading to a limited area in the center of the
e 4.10. This mode is useful when you want to base
frame, such as a spot-lit performer on stage at a con-
r of the frame, so much the better. If not, you’ll have
nd then lock exposure by pressing the shutter release
EL button).
otography
Figure 4.9
Center
weighted
metering calcu-
lates exposure
based on the
full frame, but
emphasizes the
center area.
Figure 4.10
Spot metering
calculates expo-
sure based on a
center spot.
Choosing an Exposur
You’ll find five methods for choosin
the Sony Alpha DSLR-A850 autom
the mode dial to choose the metho
which mode is best for a given shoo
for lots of (or less) depth-of-field, a
of the Sony Alpha DSLR-A850’s s
aspect of image capture or another,
virtues to recommend them. This s
Figure 4.11
Choose expo-
sure modes by
spinning the
mode dial.
Auto Mode
The first exposure mode is the Auto
might wonder why I even bother d
and-forget-it” sort of feature found
the Auto mode often takes complet
ticipate in the decision-making pro
balance, ISO, or anything else. Wi
designed an Auto mode that will ta
take back control of almost every sh
For example, although the camera f
(AF-A, AF area Wide, ISO Auto, m
Standard, etc.), you can change any
Navi menu, or the direct-setting but
re Method
ng the appropriate shutter speed and aperture with
matically, semi-automatically, or manually. Just spin
od you want to use (see Figure 4.11). Your choice of
oting situation will depend on things like your need
a desire to freeze action or allow motion blur. Each
semi-automatic exposure methods emphasizes one
and the manual and automatic ones have their own
section introduces you to all five exposure modes.
o setting, highlighted in aqua on the mode dial. You

discussing this one, because it sounds like the “set-it-
on many less-advanced cameras. On those cameras,
te control of the situation and does not let you par-
ocess—you can’t set exposure compensation, white
ith the Sony Alpha DSLR-A850, though, Sony has
ake over if you want it to, but that also will let you
hooting decision to be made.
follows a standard script in making its initial settings
metering mode Multi segment, D-Range Optimizer
y or all of these by using the menu system, the Quick
ttons. Just about the only feature that is not available
in Auto mode is the Program Shift function I discuss

from the metered exposure setting to an alternate pa
Exposure compensation can be used when using Au
mode can be a great way to start out if you’re in a hu
solid, standard array of settings, but you will still be a
sion. Note, though, that if you change settings while i
size, aspect ratio, quality, and a few others; the compl
tion manual) will “stick” and stay set until you chan
from Auto mode and back again. The other setting
Wide, ISO Auto, and D-Range Optimizer Standard
you switch away from Auto mode and then back aga
Program Auto Mode

Program auto mode (P) uses the Alpha’s built-in sm
shutter speed using a database of picture information
shutter speed and aperture will work best for a partic
cannot be achieved at the current ISO setting, the ap
blink in the viewfinder and on your LCD, to indica
not using the Auto ISO setting, you can then boos
decrease sensitivity.
Program mode is similar to Auto mode in that the
decisions without any intervention by you. Ther
between the two modes, though. First, in Program m
switch to different, but equivalent, settings of shutte
more important, in Program mode, as in all modes
retain all of your settings of items such as ISO, w
Optimizer, and the like. So, if you get the camera set
then turn it off, or switch to another mode and then
will still be in place when you return to P mode. T
Auto mode, which always starts up with its own p
with the exception of a few “sticky” settings that wi
change them, as noted in the discussion above of Au
Aperture Priority
In Aperture priority mode (A), you specify the lens o
A850 selects the shutter speed. Aperture priority is
use a particular lens opening to achieve a desired e
smallest f/stop possible to maximize depth-of-field in
want to use a large f/stop to throw everything except
in Figure 4.12. Maybe you’d just like to “lock in”
otography
sed previously, which lets you switch

airing of shutter speed and aperture.
uto mode. So, with the A850, Auto
urry, because you can be assured of a
able to change them to suit the occa-
in Auto mode, some of them (image
plete list is on page 47 of the instruc-
nge them, even if you switch away
gs, such as metering mode, AF area
d, will revert back to their defaults if
ain.
marts to select the correct f/stop and

n that tells it which combination of
cular photo. If the correct exposure
perture and shutter speed will both
ate under- or overexposure. If you’re
st or reduce the ISO to increase or
e camera will make good exposure

re are some important differences
mode, you can use Program Shift to
er speed and aperture. Perhaps even
s other than Auto, the camera will
white balance, AF area, D-Range
t up the way you want it in P mode,
n back to P, your individual settings
This behavior is different from the
pre-programmed group of settings,
ill hold their new values when you
uto mode.
opening used, and the Alpha DSLR-

especially good when you want to
effect. Perhaps you’d like to use the
n a close-up picture. Or, you might
t your main subject out of focus, as
a particular f/stop because it’s the
Figure 4.12
Use Aperture
priority to
“lock in” a
large f/stop
when you want
to blur the
background.
sharpest available aperture with that lens. Or, you m

lens with a maximum aperture of f/1.4, because you
speed and sharpness.
Aperture priority can even be used to specify a rang
under varying lighting conditions, which seems alm
it. You’re shooting a soccer game outdoors with a te
high shutter speed, but you don’t care if the speed c
behind a cloud. Set your Alpha to A, and adjust th
say, 1/1,000th second is selected at your current ISO
400, that aperture is likely to be around f/11.) Then
your Alpha will maintain that f/11 aperture (for su
move about the field), but will drop down to 1/750
should the lighting change a little.
A blinking shutter speed on the LCD, or a blinking c
ing arrow on the EV scale in the viewfinder, indicate
an appropriate shutter speed at the selected apertur
will occur at the current ISO setting. That’s the ma
ity: you might select an f/stop that is too small or t
sure with the available shutter speeds. For example, i
and the illumination is quite bright (say, at the bea
fastest shutter speed might not be able to cut down
sensor to provide the right exposure. Or, if you select
find yourself shooting with a very slow shutter speed
ject movement or camera shake. Aperture priority
experience in choosing settings. Many seasoned pho
Aperture priority all the time.
Shutter Priority
Shutter priority (S) is the inverse of Aperture prio
you’d like to use, and the camera’s metering system se
you’re shooting action photos and you want to use
available with your camera; in other cases, you migh
to add some blur to a sports photo that would be mu
frozen (see Figure 4.13). Shutter priority mode gives
action-freezing capability your digital camera brings
You’ll also encounter the same problem as with Apert
ter speed that’s too long or too short for correct exp
shot outdoor soccer games on sunny Fall evenings
otography
might prefer to use, say, f/2.8 on a

want the best compromise between
ge of shutter speeds you want to use

most contradictory. But think about
elephoto lens and want a relatively
changes a little should the sun duck
he aperture until a shutter speed of,
O setting. (In bright sunlight at ISO
n, go ahead and shoot, knowing that
ufficient DOF as the soccer players
0th or 1/500th second if necessary
camera shake warning icon or blink-

es that the Alpha is unable to select
re and that over- or underexposure
ajor pitfall of using Aperture prior-
too large to allow an optimal expo-
if you choose f/2.8 as your aperture
ach or in snow), even your camera’s
n the amount of light reaching the
t f/8 in a dimly lit room, you might
d that can cause blurring from sub-
is best used by those with a bit of
otographers leave their Alpha set on
ority: you choose the shutter speed

elects the appropriate f/stop. Perhaps
e the absolute fastest shutter speed
ht want to use a slow shutter speed
undane if the action were completely
s you some control over how much
s to bear in a particular situation.
ture priority when you select a shut-
posure under some conditions. I’ve
and used Shutter priority mode to
Figure 4.13 Lock the shutter at a slow speed to introduce
basketball player.
lock in a 1/1,000th second shutter

exposure when the sun dipped beh
light to shoot at that speed, even w
As with Aperture priority mode, it’
when using Shutter priority mode. I
(to indicate underexposure) or the
blink in the viewfinder and on the L
appear in Shutter priority mode.
Making Exposure Value

Sometimes when using the automa
more or less exposure than indicat
tem. Perhaps you want to underexpo
duce a high-key look. It’s easy to
override the exposure recommend
including Manual exposure, thoug
cuss below in the section on Manu
blur into an action shot, as with this panned image of a
speed, only to find my Alpha could not set a proper

hind some trees because there was no longer enough
with the lens wide open.
’s possible to choose an inappropriate shutter speed
If that’s the case, the maximum aperture of your lens
minimum aperture (to indicate overexposure) will
LCD. The Camera shake warning indicator does not
e Changes
atic or semi-automatic shooting modes you’ll want
ted by the Sony Alpha DSLR-A850’s metering sys-
ose to create a silhouette effect, or overexpose to pro-
use the Alpha’s exposure compensation system to
dations. It’s available in any exposure mode, even
gh in that mode it works a bit differently, as I’ll dis-
ual exposure.
Here’s how this feature works in the Auto, P, A, and

pensation button, located on top of the camera jus
rotate the front or rear control dial, or move the mul
image brighter (add exposure), and to the left to mak
sure). The exposure scales in the viewfinder and on
you’ve made. Generally speaking, the EV change you
that follow, until you manually zero out the EV setti
sation button to reverse the above setting. That is, e
then back on, the exposure compensation setting yo
there is an important exception to be aware of: If yo
in Auto shooting mode, that setting will be erased
mode or turn off the camera; it will not be there the n
Similarly, any exposure compensation value you se
mode will not show up when you switch into Auto
be there in all other modes, until you zero it out you
Manual Exposure
Part of being an experienced photographer comes fr
Sony Alpha’s automation (including Auto and P m
(with Shutter priority or Aperture priority), and wh
M). Some photographers actually prefer to set thei
will be happy to provide an indication of when its
ual settings provide the proper exposure, using the a
of the viewfinder and on the LCD.
Manual exposure can come in handy in some situati
ette photo and find that none of the exposure modes
exactly the effect you want. For example, when I sho
was no way any of my Sony Alpha’s exposure modes w
the way I wanted to shoot it. So, I took a couple te
manually to use the exact shutter speed and f/stop I
a studio environment using multiple flash units. Th
slave devices (gadgets that set off the flash when they
or, perhaps from a radio or infrared remote control).
n’t compensate for the extra illumination, and can’t
so you need to set the aperture manually.
Although, depending on your proclivities, you mig
ally very often, you should still make sure you und
the Sony Alpha DSLR-A850 makes setting exposu
otography
d S modes. Press the exposure com-

st behind the shutter button, then
lti-selector, to the right to make the
ke the image darker (subtract expo-
n the LCD indicate the EV change
u’ve made remains for all exposures
ing by using the exposure compen-
even if you turn the camera off and
ou’ve made will still be present. But
ou set exposure compensation while
d once you switch away to another
next time you switch to Auto mode.
et while in a mode other than Auto
mode, although that value will still
urself.
rom knowing when to rely on your

modes), when to go semi-automatic
hen to set exposure manually (using
ir exposure manually, as the Alpha
metering system judges your man-
analog exposure scale at the bottom
ions. You might be taking a silhou-

s or EV correction features give you
ot the windmill in Figure 4.14, there
would be able to interpret the scene
est exposures, and set the exposure
I needed. You might be working in
he additional flashes are triggered by
y sense the light from another flash,
Your camera’s exposure meter does-
t interpret the flash exposure at all,
ght not need to set exposure manu-

derstand how it works. Fortunately,
ure manually very easy. Just set the
Figure 4.14
Manual mode
allowed setting
the exact expo-
sure for this sil-
houette shot.
mode dial to M, turn the front control dial to set th

trol dial to adjust the aperture (unless you’ve reversed
cussed in Chapter 3). Press the shutter release half
viewfinder displays an indicator on top of the E
chosen setting diverges from the metered exposure. I
either shutter speed or aperture, or both, to bring th
so that your chosen settings agree with the metered
in Manual exposure mode, you will see the indicati
compensation symbol to the left of the EV scale on t
display. That stands for “Metered Manual,” to remin
sure manually, while the camera meters the exposur
Now, here’s how exposure compensation works whe
mode on the A850. Sony’s implementation is a bit
exposure compensation does not function when sh
The A850, though, allows you to use compensation
set your exposure manually to 1/250th second at f/
ment with the camera’s metering. The indicator on
be at the zero point. Add in exposure compensation
is dark, and the metering will call for too much exp
EV, go back and meter the scene again by pressing
(assuming the lighting is the same) the EV scale in
exposure is too bright by 2.0 EV. This is because th
EV of exposure compensation to the “standard” ex
will prompt you to reduce the exposure by 2.0 EV in
the EV scale again.
You will receive a couple of clues to show that the ca
tion in this situation, so you won’t forget and just th
unaltered “standard” metering. First, if you’re using t
display, it will show the exposure compensation am
line, for example: M 1/250 F2.8 -2.0. Also, the cam
pensation symbol on the small LCD display on top
ing in the viewfinder to indicate that exposure comp
need to be somewhat careful if you decide to use exp
exposure mode. My personal preference when using
the EV scale in the viewfinder. If I want to add or
aperture and shutter speed until the indicator on th
amount.
otography
he shutter speed, and the rear con-

d the control dial’s functions as dis-
fway, and the exposure scale in the
V scale that reveals how far your
If you’re so inclined, you can adjust
he indicator back to the zero point,
value. Note: When you’re shooting
ion “M.M” instead of the exposure
the Detailed recording information
nd you that you are setting the expo-
re as a backup.
en shooting with Manual exposure
unusual; with some other cameras,
hooting in Manual exposure mode.
in this situation. Let’s say you have
/2.8, and that exposure is in agree-
the EV scale and on the LCD will
n of –2.0 EV, because your subject
posure. After you dial in your –2.0
g the shutter button halfway. Now
the viewfinder will show that your
he camera has factored in your –2.0
xposure, and that standard reading
n order to achieve a zero reading on
amera is using exposure compensa-

hink the camera is showing you its
the Detailed recording information
mount in the last figure on the top
mera will display the exposure com-
p of the camera. There will be noth-
pensation is in effect, though, so you
posure compensation with Manual
g Manual exposure is just to rely on
subtract EV steps, I just adjust the
he EV scale is offset by the desired
Adjusting Exposure w
Another way of adjusting exposu
Sometimes photographers forget ab
set the ISO once for a particular sho
light outdoors, or ISO 800 when s
reason for that is that ISOs higher t
evils.” However, changing the ISO
ularly with the Sony Alpha DSLR-
that create grainy, unusable picture
Indeed, I find myself using ISO adj
subtracting EV when shooting in M
alent exposures when in automatic o
a Manual exposure with both f/stop
ISO 200. I can change the exposure
on top of the camera, and spinning
in image quality/noise at the base s
to reduce exposure a little, or chang
ferred f/stop and shutter speed, but
Or, perhaps, I am using Shutter pri
1/500th second at f/11. If I decide
second at f/8, I can press the ISO
100. Of course, it’s a good idea to
ISO 1600 accidentally. ISO setting
sitivity in particular shooting situati
100 up to 6400. (Note, though, tha
by lines when displayed by the cam
values for this camera, and don’t gi
values would give. Therefore, I rec
absolutely have to in order to expos
The camera can adjust the ISO au
ditions. As we saw in Chapter 3,
Recording menu 2 to set the range
These ranges include several option
rowest of 200-400. When the cam
ISO Auto Range option is grayed o
the camera initially sets ISO to Au
sure mode, you cannot set ISO to A
exposure mode, the camera will res
to any other value.
with ISO Settings

ures is by changing the ISO sensitivity setting.
bout this option, because the common practice is to
ooting session (say, at ISO 100 or 200 for bright sun-
shooting indoors) and then forget about ISO. The
than ISO 100 or 200 are seen as “bad” or “necessary
is a valid way of adjusting exposure settings, partic-
-A850, which produces good results at ISO settings
es with some other camera models.
justment as a convenient alternate way of adding or
Manual mode, and as a quick way of choosing equiv-
or semi-automatic modes. For example, I’ve selected
p and shutter speed suitable for my image using, say,
e in full stop increments by pressing the ISO button
g the control dial one click at a time. The difference
setting of ISO 200 is negligible if I dial in ISO 100
ge to ISO 400 to increase exposure. I keep my pre-
t still adjust the exposure.
iority mode and the metered exposure at ISO 200 is
e on the spur of the moment I’d rather use 1/500th
button, and spin the control dial to switch to ISO
monitor your ISO changes, so you don’t end up at
gs can, of course, also be used to boost or reduce sen-
ions. The Sony Alpha can use ISO settings from ISO
at values below 200 and above 3200 are surrounded
mera. This indicates that these are not optimum ISO
ive the full benefit that “real” ISO readings of those
commend that you not use those values unless you
se the picture properly.)
utomatically as appropriate for various lighting con-
you can use the ISO Auto Range option on the
of ISO values that is used when ISO is set to Auto.
ns, with the broadest range of 400-1600 and the nar-
mera is set to the Auto shooting mode, however, the
out on the menu and cannot be used. In that mode,
uto with a range of ISO 200-800. In Manual expo-
Auto. If ISO was set to Auto before you select Manual
set it to 200 for Manual mode; you can then change
Bracketing
Bracketing is a method for shooting several consecu
tings, as a way of improving the odds that one will
electronic film cameras took over the universe, it w
shooting, say, a series of three photos at 1/125th se
f/8 to f/11 to f/16. In practice, smaller than whole-st
precision. Plus, it was just as common to keep the s
speed, although in the days before electronic shutters
increment shutter speeds available.
Today, cameras like the Alpha DSLR-A850 can brac
When this feature is activated in the basic bracketin
consecutive photos: one at the metered “correct” exp
one with more exposure, in your choice of 1/3 stop
increments. Figure 4.15 shows an image with the me
exposures of 2/3 stop less (left), and 2/3 stop more
fairly impressive array of other bracketing options in
Figure 4.15 Metered exposure (center) accompanied by br

(right).
otography
utive exposures using different set-

be exactly right. Before digital and
was common to bracket exposures,
econd, but varying the f/stop from
top increments were used for greater
same aperture and vary the shutter
s, film cameras often had only whole
cket exposures much more precisely.

ng situation, the Alpha takes three
posure, one with less exposure, and
p, 1/2 stop, 2/3 stop, or 2 full stop
etered exposure (center), flanked by
e (right). However, the A850 has a
n its arsenal. You have the ability to
racketed exposures of 2/3 stop less (left) and 2/3 stop more
vary the number of images taken, th
ter release at a time), the order in w
the exposures, and, last but not lea
just one of several aspects of your sh
the bracketing options.
With less sophisticated cameras, exp
able, and it is undoubtedly the mo
the Sony DSLR-A850 offers not jus
balance and Dynamic Range Optim
eral suboptions.
To set up bracketing on the Sony D
of the camera, or press the Fn butto
the drive options. If you use the D
and down through it with the fron
movement. Make selections from th
selector’s left and right movement.
screen, you can then press in on th
menu as with the DRIVE button. O
can leave the whole Quick Navi scr
ous drive and bracketing options w
values with the rear control dial. H
for bracketing.
1. Continuous-shot exposure br
bracketing shots continuously
basic option is designated by th
will take three shots with one p
steps. So, for example, if the c
when you press the shutter once
at 1/30th second, a second (dar
of f/2.8 at 1/25th second. Usin
the multi-selector, you can cha
addition, you have the option o
with any of those settings excep
available number of shots is thr
2. Single-shot exposure bracket
has the same options as continu
shutter button for each shot. T
subject between shots to make
adjustments to a subject, costu
he way they are taken (continuously versus one shut-

which they are taken, the amount of variation among
ast, what value is varied—the amount of exposure is
hots that can be bracketed. Let’s take a look at all of
posure bracketing is the only type of bracketing avail-

ost familiar and probably the most useful type. But
st exposure bracketing, but also bracketing for white
mization. And, within those categories, it offers sev-
DSLR-A850, use the DRIVE button on the top right

on at the bottom right of the camera’s back to access
DRIVE button, you will see a submenu; navigate up
nt control dial or the multi-selector’s up and down
he menu items with the rear control dial or the multi-
If you press the Fn button to access the Quick Navi
he multi-selector’s center button to access the same
Or, if you want to speed up the selection process, you
reen displayed, and scroll quickly through the vari-
with the front control dial, and make your choices of
Here is the list of options you will be presented with
racketing. With this option, the camera will fire its

when you press the shutter button once. The most
he camera as BRK C 0.3EV3, meaning the camera
press of the shutter button, at an interval of 0.3 EV
camera meters the scene as f/2.8 at 1/30th second,
e the camera will take one exposure (normal) of f/2.8
rker) of f/2.8 at 1/40th second, and a third (lighter)
ng the left-right movement of the rear control dial or
ange the setting of the EV step to 0.5, 0.7, or 2.0. In
of setting the camera to take five bracketed exposures
pt the 2.0 EV step interval; with that setting, the only
ree.
ting. This next option down on the Drive submenu
uous exposure bracketing, but you have to press the
This option may be useful if you need to check your
e sure it is still in the correct position, or to make
ume, or prop, etc.
3. White balance bracketing. The next option l

sures with variations in the white balance, rather
to take advantage of this capability if you are in a
ing or a mixture of different light sources. Of c
ing you will want to do your best to figure out
and you may try a custom setting, as discussed
you an extra measure of security that you’re get
correct white balance, though. Here, you have o
vals for the three exposures. You will hear only
stores three images, with the three different wh
interval between settings is 10 mired (mired is
perature), with Hi, the interval is 20 mired.
4. DRO bracketing. The final type of bracketing a
sures with Dynamic Range Optimization set at
the D-Range Optimizer capability in more det
form of in-camera processing that pulls details
ing out the highlights. The Sony DSLR-A850 h
Advanced DRO, with five levels of increasing a
bracketing option, the camera will take three exp
shutter sound. The camera will store three image
Optimization. There are two settings: With Lo,
3; with Hi, it will use levels 1, 3, and 5.
Bracketing can be performed using any of the A850
When bracketing is set, a set of vertical lines appear
scale in the viewfinder, showing how many shots rem
ple, if you set the bracketing for three shots, when y
followed by ||, and then | as the bracket set is expo
keep in mind about bracketing:
■ HDR isn’t hard. The 2.0 stop setting is the best
Dynamic Range magic later on in Photoshop o
to HDR command in Photoshop, for example, a
images with different exposures into one photo
in both highlights and shadows. To get the bes
tripod, shoot in RAW format, use BRK C, and
stops.
■ Adjust the base value. You can bracket your ex
than the base (metered) exposure value. Make an
sure with the exposure compensation button an
over, under, and equal to the compensated value
otography
lets you take a series of three expo-

r than the exposure. You might want
a situation with non-standard light-
course, before resorting to bracket-
what white balance setting is best,
d in Chapter 5. Bracketing can give
tting at least one exposure with the
only two options: Lo and Hi inter-
one shutter sound, but the camera
hite balance settings. With Lo, the
s a technical measure of color tem-
available lets you take multiple expo-

different levels. I will be discussing
tail in Chapter 5. Essentially, it is a
out of the shadows without wash-
has several DRO settings, including
adjustment to the image. With this
posures, and you will hear only one
es with increasing levels of D-Range
, the camera will use levels 1, 2, and
0’s shooting modes, including Auto.

rs above the center of the exposure
main to be shot in the set. For exam-
you begin you’ll see ||| (three lines),
osed. Here are some more things to
choice if you plan to perform High

or another image editor. The Merge
allows you to combine three or more
o with an amazing amount of detail
st results, mount your camera on a
d set the exposure increment to 2.0
xposures based on something other

n adjustment for extra or less expo-
nd control dial. Bracketing will be
e.
■ What changes? In Aperture p
by changing the shutter speed
phy, to avoid changing the dep
Shutter priority mode, bracket
exposure mode, bracketing is a
hold the AEL button (or toggle
which case bracketing is done b
method when the shutter speed
to freeze action with a high shu
speed, or when shooting HDR
want to keep the same depth-
modes, the Alpha will use both
scene.
■ Flash works, too. With some c
the flash. That’s not a problem
patible flash unit attached that
camera will take multiple shot
bracketing, so you have to pres
exposure by changing the inten
also perform white balance or D
continuous versus single-shot b
three different images with onl
■ Remember RAW. Bracketing
robust implementation of it. Bu
in the RAW (or the virtually e
can alter your settings of expos
software. But note that you can
ware, or at least not nearly as e
settings. So, DRO bracketing c
what RAW can offer with a sing
ity rather than RAW, bracketin
have at least one image with th
■ Changing the order. As I disc
bracketing, you can change the
default setting is neutral-low-h
through the Custom menu 3.
priority mode, exposure bracketing will be achieved

(this is the best mode when doing HDR photogra-
pth-of-field of the shots that will be later merged). In
ting will be done using different f/stops. In Manual
applied using the shutter speed unless you press and
e it, if that option is set in the Custom menu 2), in
by changing the f/stop. You’d want to use the default
d selected is most important (say, because you want
utter speed, or allow creative blur with a low shutter
R photos). Bracket by changing the f/stop when you
-of-field for selective focus. In Program and Auto
h shutter speed and aperture, as appropriate for your
cameras, bracketing can’t be used when working with

with the Sony DSLR-A850. When you have a com-
t communicates through the camera’s hot shoe, the
ts, but it will automatically set itself for single-shot
ss the shutter for each shot. The camera will vary the
nsity of the flash for the successive exposures. It will
DRO bracketing with flash. With those two modes,
bracketing is not an issue, because the camera stores
ly one shutter actuation.
g is a great feature, and the A850 has a terrifically
ut don’t forget that the camera also can shoot images
equivalent cRAW) format. With RAW images, you
sure and white balance after the fact, in your editing
n’t readily add Dynamic Range Optimization in soft-
easily as you can tweak exposure and white balance
can offer you additional tonal flexibility beyond even
gle shot. Of course, if you’re shooting in JPEG qual-
ng can be of tremendous benefit in making sure you
he correct settings of exposure and/or white balance.
cussed in Chapter 3, for white balance and exposure
e order in which the camera takes the exposures. The
high; you can change the order to low-neutral-high
Dealing with Noise

Image noise is that random grainy effect that som
which, most of the time, is objectionable because it
adds that “interesting” texture. Noise is caused by tw
settings and long exposures.
High ISO noise commonly appears when you rais
above ISO 400. With Sony cameras, which generall
tics, noise may become visible at ISO 800, and is us
and above. This kind of noise appears as a result of th
the sensitivity of the sensor. While higher ISOs do
also amplify non-signal information randomly, creat
A850 automatically applies noise reduction that is str
tion of sharpness in the image for any exposures take
or above. Figure 4.16 shows two pictures shot durin
ball game. Both were exposed at ISO 1600, but with
sion at top, and with no noise reduction at bottom
between the two so the grainy/less grainy images are
The halftone screen applied to printed photos tends
A similar noisy phenomenon occurs during long time
tons to reach the sensor, increasing your ability to cap
ditions. However, the longer exposures also increase
register random phantom photons, often because
warmer it gets, and that heat can be mistaken for ph
With a CCD like the one used in some other camera
nal is conveyed off the chip and funneled through a
ital conversion circuit. Any noise introduced there is,
like the one in the Alpha DSLR-A850, on the other
ual amplifiers and A/D converters, all working in un
necessarily all process in precisely the same way all t
thing called fixed-pattern noise into the image data.
The Sony Alpha DSLR-A850 performs long exposur
longer than one full second. Fortunately, Sony’s electr
tional job minimizing noise. Even so, there are situa
adjust the settings of your camera’s automatic nois
noise reduction can mask some detail as it remove
Some of the image-making pixels are unavoidably
change the setting of either type of noise reduction,
and select either Long Exposure NR or High ISO NR
Off are the only options. For High ISO NR, you can
otography
me like to use as a visual effect, but

robs your image of detail even as it
wo different phenomena: high ISO
se your camera’s sensitivity setting

ly have good ISO noise characteris-
sually fairly noticeable at ISO 1600
he amplification needed to increase
pull details out of dark areas, they
ting noise. The Sony Alpha DSLR-
rong enough to be visible as a reduc-
en when the ISO is set at ISO 1600
ng different at-bats at the same base-
h noise reduction applied in the ver-
m. (I’ve exaggerated the differences
e more evident on the printed page.
s to mask these differences.)
e exposures, which allow more pho-
pture a picture under low-light con-
the likelihood that some pixels will
the longer an imager is “hot,” the
hotons.
as in the Alpha series, the entire sig-
single amplifier and analog-to-dig-
, at least, consistent. CMOS imagers
r hand, contain millions of individ-
nison. Because all these circuits don’t
the time, they can introduce some-
.
re noise reduction for any exposures
ronics geniuses have done an excep-
ations in which you might want to
se reduction features. For example,
es random pixels from your image.
y vanquished at the same time. To
, navigate to the Recording menu 3
R. For Long Exposure NR, On and
n select High, Normal, Low, or Off.
Select High if you want to use as m
of image detail. Select Low if you
while still reducing noise to some e
sents an intermediate setting, balan
fairly evenly.
Figure 4.16
Noise reduc-
tion applied
(top) pro-
duces a less
grainy image
than the ver-
sion at bot-
tom, which
has no noise
reduction.
much noise reduction as possible, even at the expense

want to preserve as much image detail as possible,
extent. The Normal setting, not surprisingly, repre-
ncing noise reduction against preserving image detail
Long Exposure NR is automatically disabled any tim

ing or continuous bracketing. High ISO NR is not d
continuous bracketing, but the speed of the contin
the amount of High ISO NR is set to High.
You can also apply noise reduction to a lesser exten
verting RAW files to some other format, using yo
industrial-strength product like Noise Ninja (www.p
after you’ve already taken the picture.
Fixing Exposures with Histogra

While you can often recover poorly exposed photos
is to arrive at the correct exposure in the camera, mi
to make in post processing. However, you can’t alw
the image on your Alpha DSLR-A850’s LCD afte
does not offer a Live View feature to let you judge
the shot is taken. (It offers instead an Intelligent pre
section, which may be of use in this situation, but t
a histogram.)
When you want to have an accurate representation o
taken, you can use a histogram, which is a chart di
that shows the number of tones being captured at ea
information to provide correction for the next shot
ing playback, a histogram screen that shows overall b
as for the separate red, green, and blue channels.
The histogram chart includes a representation of up
tal axis that show the number of pixels in the imag
(black) on the left side to 255 (white) on the righ
enough pixels to show each and every one of the 25
resentation of the shape of the curve formed.) The m
the bar at that position. If no bar appears at a partic
to right, there are no pixels at that particular brightn
A typical histogram produces a mountain-like shap
in the middle tones, with fewer pixels at the dark a
though, there will be at least some pixels at either ex
a true black and a true white representing some det
represent over- and underexposure, and add or subt
cation to compensate.
otography
me you are using continuous shoot-

disabled for continuous shooting or
nuous shots will be slowed down if
nt using Photoshop, and when con-

our favorite RAW converter, or an
picturecode.com) to wipe out noise
ams
in your image editor, your best bet
inimizing the tweaks that you have
ways judge exposure just by viewing
er the shot is made, and the A850
e the exposure on the LCD before
eview feature, discussed in the next
that feature also relies on the use of
of the exposure of a picture you have

isplayed on the Sony Alpha’s LCD
ach brightness level. You can use the
you take. The Alpha provides, dur-
brightness levels for an image as well
p to 256 vertical lines on a horizon-

ge at each brightness level, from 0
ht. (The 3-inch LCD doesn’t have
56 lines, but instead provides a rep-
more pixels at a given level, the taller
cular position on the scale from left
ness level.
pe, with most of the pixels bunched
and light ends of the scale. Ideally,
xtreme, so that your image has both
tails. Learn to spot histograms that
tract exposure using an EV modifi-
DISPLAYING HISTOGRAMS
To view histograms on your screen,
image is shown on the LCD in Playb
levels as well as levels for each of the
histogram display, you’ll also see a th
displayed along with detailed inform
speed, lens focal length, ISO setting
Figure 4.17
Histograms
show the rela-
tionship of
tones in an
image, includ-
ing brightness
(top right), and
red, green, and
blue tones
(middle and
bottom right).
For example, Figure 4.18 shows the

You can guess from the shape of th
of the graph have been clipped off.
tional pixels to reside without havin
look like Figure 4.19, which is over
the exposure by using exposure com
in Figure 4.20, in which the tones
many highlight details as possible.
information on dialing in exposure
press the C button below the multi-selector while an

back mode. The histogram screen shows brightness
e red, green, and blue channels (Figure 4.17). During
humbnail at the top of the screen with your image
mation about the image, including f/stop, shutter
g, and other camera settings.
e histogram for an image that is badly underexposed.

he histogram that many of the dark tones to the left
. There’s plenty of room on the right side for addi-
ng them become overexposed. Or, a histogram might
rexposed. In either case, you can increase or decrease
mpensation to produce the corrected histogram shown
“hug” the right side of the histogram to produce as
See “Making Exposure Value Changes,” above for
e compensation.
otography
Figure 4.18
This histogram
shows an
underexposed
image.
Figure 4.19
This histogram
reveals that the
image is over-
exposed.
Figure 4.20
A histogram for
a properly
exposed image
should look
like this.
The histogram can also be used to a
ing incorrect contrast is more difficu
bunched up in one place in the im
are spread out more or less evenly, th
your best bet may be to switch to R
can adjust contrast in post processi
There is one other very helpful featu
DSLR-A850. If any area of the ima
thumbnail image will flash to alert
You may see multiple areas flash if, f
another is too dark.
Adjusting Exposures w
Up to this point, I have discussed fa
that your images are exposed prop
too dark or too light. You know ho
Alpha DSLR-A850 to meter the l
speed. You can choose the best exp
setting, and apply exposure compen
You also are familiar with the camer
that at least one of the images you
the use of the histogram to help yo
You would be justified in concludin
exposing your shots with the prope
A850 with one additional feature t
examine it on the high-resolution L
several of the most important expos
This feature, called Intelligent prev
quite powerful in that it gives you t
with bracketing, but several at onc
adjustments will affect the final ima
actual shot. Here is how it works.
1. Make sure the Preview butto
Chapter 3, the last option on t
ing the Preview button produ
Intelligent preview function, w
aid in fixing the contrast of an image, although gaug-

ult. For example, if the histogram shows all the tones
mage, the photo will be low in contrast. If the tones
he image is probably high in contrast. In either case,
RAW (if you’re not already using that format) so you
ing.
ure of the histogram display screen on the Sony Alpha
age is excessively bright or too dark, that area in the
you that adjustments to the exposure are called for.
for example, one part of the image is too bright while
with Intelligent Preview

airly conventional and time-tested ways to make sure
perly so that details are clear and no areas are either
ow to use the professional-level features of the Sony
light properly and adjust the aperture and shutter
posure mode for a given situation, control the ISO
nsation as needed.
ra’s capabilities for bracketing exposures to make sure
take is exposed properly, and you are familiar with
ou analyze the brightness of your images.
ng that the tools mentioned above are sufficient for
er settings. However, Sony has provided users of the
that gives you the ability to actually take a test shot,
LCD display on the back of the camera, and tweak
sure-related settings before you take the final picture.
view, is one that was newly developed by Sony. It is
the ability to adjust not just one setting at a time, as
ce, and instantly see on the LCD display how those
age, before you press the shutter button to record the
on is set for Intelligent preview. As I discussed in

the Custom menu 1 lets you choose whether press-
uces only a depth-of-field preview or activates the
which is the default option.
2. Set up your shot. You can use any shooting m

that you can’t set the shutter speed to BULB. A
the preview is on the screen, so you need to finis
Preview button.
3. Press the Preview button. This button is located
You may be able to reach it with one of the low
many people, including me, find it easier to reac
ger of the left hand to push this button in. As l
the viewfinder will show the scene as it would l
the aperture to which it is actually set. In that wa
of-field, and judge whether the focus is deep en
4. Release the Preview button. When you have fin
preview, release the button. At that point, the
take a test shot, which will appear on the LCD sc
panied by a histogram and a display showing th
speed, f/stop, exposure compensation, D-Range
image is not recorded by the camera, and cannot
(See Figure 4.21.)
otography
mode and any other settings except

Also, autofocus will not work while
sh your focusing before pressing the
d to the right of and below the lens.

wer fingers of your right hand, but
ch around under the lens with a fin-
long as you hold down the button,
look with the lens stopped down to
ay, you will be able to see the depth-
nough for your purposes.
nished observing the depth-of-field
camera will activate the shutter to
creen as a thumbnail image, accom-
he values of shooting mode, shutter
Optimizer, and white balance. This
t be enlarged while it’s on the screen.
Figure 4.21
The Intelligent
preview feature
lets you display
a screen for
interactively
adjusting expo-
sure compensa-
tion, white
balance, and
D-Range
Optimization
while viewing
the effects of
those adjust-
ments on the
screen before
taking the
actual picture.
5. Adjust the settings. Use the rig
each setting you want to chang
rear control dials to adjust its v
dial to move through the main
the rear control dial to change t
see the effects of each adjustme
To switch temporarily back to
DISP button. Use that button
as you need to, to compare them
original image on the screen, p
the settings again, if you want.
6. Take the picture. Once you h
the shutter button to take the p
There are a few other points to be a
■ If you have a lens with a focus
option on the Custom menu 1
■ Although you can use Intellige
Auto or Program mode, you ca
ing the test shot. With Apertu
and with Shutter priority mo
Manual mode, you can adjust
you can adjust D-Range Optim
Manual (see below), you can ad
■ There is one odd thing about th
Intelligent preview. Although y
while viewing the test image, th
picture. This apparently happen
Manual mode, you have to rea
yourself, but there is no way to d
as I discussed earlier in this chap
exposure mode, it is not possib
■ Intelligent preview’s most usefu
D-Range Optimizer, because th
of the shadows, and it is very u
ing the final shot. It also can be
ance while viewing the effects o
■ Intelligent preview is best used
non-moving subject, because yo
adjust the settings before pressi
ght and left motion of the multi-selector to move to

ge. When a setting is highlighted, use the front and
value. For D-Range Optimizer, use the front control
n options (Off-Standard-Advanced-Levels) and use
the levels from 1 to 5 for the Levels option. You will
ent on the thumbnail image and on the histogram.
the original image from the adjusted one, press the
to toggle between those two images as many times
m. If you want to abandon all changes and leave the
press the Delete button. You can then start adjusting
.
have adjusted the settings to your satisfaction, press
picture with the new settings.
aware of with Intelligent preview.
s hold button, you can use the Focus Hold Button
1 to set that button to activate Intelligent preview.
ent preview in any shooting mode, if you use it in
an’t adjust the shutter speed or aperture while view-
ure priority mode, you can adjust only the aperture,
ode, you can adjust only the shutter speed. With
t both aperture and shutter speed. With all modes,
mizer and white balance. With all modes other than
djust exposure compensation.
he camera’s behavior in Manual mode when you use
you can adjust the value of exposure compensation
he adjustment has no effect when you take the actual
ns because, in order to use exposure compensation in
adjust the setting on the EV scale in the viewfinder
do this when using Intelligent preview. So, although,
pter, you can use exposure compensation with Manual
ble to adjust it effectively using Intelligent preview.
ul application probably is to adjust the setting of the
hat feature calls upon the camera to pull details out
useful to see the effects of various settings before tak-
e helpful on some occasions to tweak the white bal-
of various settings on the preview screen.
d in a studio setting, or at least in a situation with a
ou need time to trigger the test shot, examine it, and
ing the shutter button to take the actual shot.
This page intenti
ionally left blank
Advanced
Your So
Of the primary foundations of great
ture a compelling image with a ple
master. The art of making a photog
an aesthetic eye that sees the right a
be included or excluded in the frame
before (and where photography can
new areas. The more you pursue ph
tion and composition. When all is s
The other basics of photography—
the ability to use your camera’s featu
values; to achieve sharpness (where
tive focus); and mastering appropri
technical skills in a time frame that’s
there is always room for improvem
become proficient in each of these
You’ve probably already spent a lot o
features, setting it up to take decen
It probably felt great to gain the co
that a large percentage of them wer
with color. The A850 is designed to
But after you were comfortable wit
your own creativity to your shots. Y
5
Techniques for
ony Alpha DSLR
t photography, only one of them—the ability to cap-
easing composition—takes a lifetime (or longer) to
graph, rather than just taking a photograph, requires
angle for the shot, as well as a sense of what should
e; a knowledge of what has been done in the medium
n be taken in the future); and a willingness to explore
hotography, the more you will learn about visualiza-
said and done, this is what photography is all about.
—equally essential—involve more technical aspects:
ures to produce an image with good tonal and color
e required) or unsharpness (when you’re using selec-
iate white/color balance. It’s practical to learn these
’s much less than a lifetime, although most of us find
ment. You’ll find the basic information you need to
technical areas in this book.
of time learning your Sony Alpha DSLR-A850’s basic
nt pictures automatically, with little input from you.
onfidence to snap off picture after picture, knowing
re going to be well exposed, in sharp focus, and rich
o produce good, basic images right out of the box.
th your camera, you began looking for ways to add
You explored ways of tweaking the exposure, using
selective focus, and, perhaps, experimenting with th

and focal lengths could offer.
The final, and most rewarding stage comes when y
niques that enable you to get stunning shots that wil
leagues asking you, “How did you do that?” These
an entire book of their own (and I have one for you
from Course Technology PTR). But there is plenty o
you to some clever things you can do with your So
be a bit of a grab bag, because I’m including some spe
that didn’t quite fit into the other chapters.
Exploring Ultra-Fast Exposures

Fast shutter speeds stop action because they capture
flash also freezes motion by virtue of its extremely sho
second or less. The Sony Alpha DSLR-A850 has a t
ond and, if you attach an external flash, such as on
you add even more versatility. You can read more a
action in Chapter 7.
In this chapter, I’m going to emphasize the use of sh
in time. The Sony Alpha is fully capable of immobi
using only its shutter speeds. You won’t often have a
For example, the image shown in Figure 5.1 require
second to freeze the runner as she cleared the hurd
capacity on hand for that one time in a thousand w
action on a very bright day.
When it comes to stopping action, most sports can
slower, and for many sports a slower shutter speed i
to allow the wheels of a racing automobile or moto
aircraft to blur realistically.
In practice, shutter speeds faster than 1/8,000th
wanted to use an aperture of f/1.8 at ISO 100 outdo
a background out of focus with a wide aperture’s sha
of 1/8,000th second would more than do the job. Yo
if you moved the ISO setting to a higher sensitivity,
if your goal were to use the widest f/stop possib
1/8,000th second is more than fast enough for any co
That’s why electronic flash units work so well for h
as the only source of illumination: they provide bo
speed and the high levels of light needed for an expo
otography
he different looks that various lenses
you begin exploring advanced tech-

ll have your family, friends, and col-
more advanced techniques deserve
u called Digital SLR Pro Secrets, also
of room in this chapter to introduce
ony Alpha DSLR. This chapter will
ecific advanced shooting techniques
s
only a tiny slice of time. Electronic
ort duration—as brief as 1/50,000th
top shutter speed of 1/8,000th sec-
ne of the Sony HVL-series strobes,
about using electronic flash to stop
hort exposures to capture a moment

ilizing all but the fastest movement
a need for a shutter speed that fast.
ed a shutter speed of just 1/2,000th
dles. But it’s nice to have that extra
when you need to freeze a very rapid
n be frozen at 1/2,000th second or

is actually preferable—for example,
orcycle, or the propeller on a classic
second are rarely required. If you

oors in bright sunlight, say, to throw
allow depth-of-field, a shutter speed
ou’d need a faster shutter speed only
and you probably wouldn’t do that
ble. Under less than full sunlight,
onditions you’re likely to encounter.
high-speed photography when used
oth the effect of a very brief shutter
osure.
Chap
Of course, as you’ll see, the tiny slic

an electronic flash exact a penalty. T
a shutter speed equal to or slower t
With the A850, the top speed usabl
High Speed Sync mode I’ll describ
at which the camera’s focal plane shu
era uses a “slit” passed in front of t
minate only the portion of the slit
Figure 5.1
A shutter speed
of 1/2,000th
second will
stop most
action.
pter 5 ■ Advanced Techniques for Your Sony Alpha DSLR 143
ces of time extracted by the millisecond duration of

To use flash at its full power setting, you have to use
than the maximum sync speed of your Alpha camera.
le for flash is 1/250th second (unless you’re using the
be in Chapter 7). The sync speed is the fastest speed
utter is completely open. At shorter speeds, the cam-
the sensor to make an exposure. The flash will illu-
exposed during the duration of the flash.
Indoors, that shutter speed limitation may cause p

may be enough existing (“ambient”) light to cause
find it difficult to achieve a correct exposure. In bri
tings available with the Sony Alpha DSLR-A850, an
might be required. So, even if you want to use dayli
work with flash only as a fill for shadows, you can hav
of electronic flash in more detail in Chapter 7.
You can have a lot of fun exploring the kinds of pic
exposure times, whether you decide to take advanta
ties of your built-in or external electronic flash or wo
bilities of the A850’s faster shutter speeds (between
Here are a few ideas to get you started:
■ Take revealing images. Fast shutter speeds ca
behind the façade, by freezing constant motion t
in time. Legendary fashion/portrait photograph
photos of famous people, such as the Duke a
Nixon, and Salvador Dali to illuminate their rea
ask a person to jump, his attention is mostly directe
mask falls so that the real person appears.” Try so
you know in motion to see how they appear w
other than the portrait.
■ Create unreal images. High-speed photography
show your subjects in ways that are quite unrea
rotors frozen or a motocross cyclist leaping over a
so that the rider and machine look as if they w
unusual picture. Or, you can capture a ballet d
not to reveal his or her personality, as with a
moment of artistry that, in real life, comes and go
tomed to seeing subjects, such as ballet dancers,
time provides a special view.
■ Capture unseen perspectives. Some things are
viewed in a stop-action photograph. M.I.T. profe
balloon burst photographs were only a starting
tronic flash unit. Freeze a hummingbird in flight
to stop. Or, capture the splashes as liquid falls in
No electronic flash was required for this image (
water in the bowl as evenly). Instead, a group o
setting of 1600 allowed the Sony DSLR to captu
otography
problems: at 1/250th second, there

ghost images. Outdoors, you may
ight sunlight at the lowest ISO set-
exposure of 1/250th second at f/10
ight as your main light source, and
ve problems. I’ll explain the vagaries
ctures you can take using very brief

age of the action-stopping capabili-
ork with the motion-freezing capa-
1/1,000th and 1/8,000th second).
an help you reveal the real subject

to capture an enlightening moment
her Philippe Halsman used leaping
and Duchess of Windsor, Richard
al selves. Halsman said, “When you
ed toward the act of jumping and the
ome high-speed portraits of people
when concentrating on something
y can also produce photographs that

al. A helicopter in mid-air with its
a ramp, but with all motion stopped
were frozen in mid-air, make for an
dancer in mid-leap (see Figure 5.2),
Halsman image, but to capture a
oes in an instant. When we’re accus-
, in motion, seeing them stopped in
e never seen in real life, except when

fessor Dr. Harold Edgerton’s famous
g point for the inventor of the elec-
t for a view of wings that never seem
nto a bowl, as shown in Figure 5.3.
(and wouldn’t have illuminated the
of high intensity lamps and an ISO
ure this image at 1/2,000th second.
Chap
Figure 5.2
Freezing a
pair of leap-
ing dancers
required a
high shutter
speed.
Figure 5.3
A large amount
of blue-filtered
artificial illumi-
nation and an
ISO 1600 sen-
sitivity setting
allowed captur-
ing this shot at
1/2,000th sec-
ond without
use of an elec-
tronic flash.
Long Exposures
Longer exposures are a doorway into another wor
scenes can look much different when photographed
At night, long exposures produce streaks of light from
automobiles or amusement park rides. Or, you can
to get interesting streaks from non-moving light s
shown in Figure 5.4. Extra long exposures of seemi
interesting views using light levels barely bright eno
cause moving objects to vanish entirely (including d
often need the help of neutral density filters to m
because they don’t remain stationary long enough to
Three Ways to Take Long Exposur

There are actually three common types of lengthy ex
sures, and time exposures. The Sony DSLR offers only
stand all three, you’ll see why Sony made the choice
exposure, all of the following techniques should be u
era steady. Also, be sure to take advantage of the A
bring down the built-in shutter that keeps light from
the viewfinder during the long exposure.
■ Timed exposures. These are long exposures fro
ured by the camera itself. To take a picture in
Shutter priority mode and use the control dial to
of time you want, choosing from preset speeds
5.0, 6.0, 8.0, 10.0, 13.0, 15.0, 20.0, 25.0, and 3
are different if you set Exposure step to 0.5 EV
advantage of timed exposures is that the came
There’s no need for a stop-watch. If you review y
to try again with the exposure doubled or halve
sure with precision. The disadvantage of timed
photo for longer than 30 seconds.
■ Bulb exposures. This type of exposure is so-ca
photographer squeezed and held an air bulb at
force necessary to keep the shutter open. Tradit
lasts as long as the shutter release button is pre
the exposure ends. To make a bulb exposure wit
the camera on Manual mode and use the cont
immediately after 30 seconds. BULB will be
otography
rld, showing us how even familiar

d over periods measured in seconds.
m moving, illuminated subjects like
move the camera or zoom the lens
sources, such as the holiday lights
ingly pitch dark subjects can reveal
ough to see by. Long exposures can
during the day, in which case you’ll
make the long exposure practical),
o register in a photograph.
res
xposures: timed exposures, bulb expo-
y the first two, but once you under-
e it did. Because of the length of the
used with a tripod to hold the cam-
A850’s very handy eyepiece lever to
m leaking onto the sensor through
om 1 second to 30 seconds, meas-

n this range, simply use Manual or
o set the shutter speed to the length
of 1.0, 1.3, 1.6, 2.0, 2.5, 3.2, 4.0,
30.0 seconds. (The speeds available
V on the Recording menu 2.) The
ra does all the calculating for you.
your image on the LCD and decide
ed, you can dial in the correct expo-
d exposures is that you can’t take a
alled because in the olden days the

ttached to a tube that provided the
tionally, a bulb exposure is one that
essed; when you release the button,
th the Sony Alpha DSLR-A850, set
trol dial to select the shutter speed
displayed on the LCD and buLb
Chap
Figure 5.4 Zooming during exposure can produce interest
shown in the viewfinder and o

Then, press the shutter to start
you’d like to minimize camera s
wired or wireless remote contro
■ Time exposures. This is a setti
sures. With cameras that imple
the shutter release button, an
Usually, you’ll be able to close t
commonly, an electronic releas
can take an exposure of virtual
ment. You can press the shutter
back to close the shutter (assum
this mode are exposures must
possible for the vibration of ma
the photo. For longer exposure
usually a problem—and there
tographer-caused camera shake
in time exposure capability, you
Remote Commander, a wired r
the shutter open for the duratio
less remote for this camera—th
the Remote Commander. Whe
BULB mode, the shutter opens
ting streaks of light.
on the small LCD display on the top of the camera.

t the exposure, and release it to close the shutter. If
shake, you can use the self-timer or the optional Sony
ol, discussed below.
ing found on some cameras to produce longer expo-
ement this option, the shutter opens when you press
nd remains open until you press the button again.
the shutter using a mechanical cable release or, more
se cable. The advantage of this approach is that you
lly any duration without the need for special equip-
r release button, go off for a few minutes, and come
ming your camera is still there). The disadvantages of
be timed manually, and with shorter exposures it’s
anually opening and closing the shutter to register in
es, the period of vibration is relatively brief and not
is always the release cable option to eliminate pho-
entirely. While the Sony Alpha does not have a built-
u can still get lengthy exposures using the RM-S1AM
remote control that has a shutter lock button to hold
on of your time exposure. You also can use the wire-
he RMT-DSLR1—which Sony confusingly also calls
en you press the shutter button once on that unit in
s; when you press the button again, the shutter closes.
Working with Long Exposures

Because the Sony Alpha DSLR-A850 produces such
and there are so many creative things you can do wi
want to do some experimenting. Get yourself a tripod
port and take some test shots with long exposure noi
abled using the Recording menu 3 (to see whether y
and get started. Here are some things to try:
■ Make people invisible. One very cool thing a
that move rapidly enough won’t register at all i
that remain stationary are portrayed in the norm
duce people-free landscape photos and architect
daylight if you use a neutral density filter (or tw
at least a few seconds. At ISO 100, f/22, and wi
density filters, you can use exposures of nearly
even more neutral density filtration would work
ishing is your goal. They’ll have to be walking
view (rather than directly toward or away from
night, it’s much easier to achieve this effect wi
that are possible.
■ Create streaks. If you aren’t shooting for total i
camera on a tripod can produce some interestin
ND filter will let you shoot at f/22 and 1/6th se
achieve interesting streaks with slow shutter spe
the dancers using a 1/2 second exposure, trigge
movement.
Tip
Neutral density filters are gray (non-colored) f
light passing through the lens, without adding
■ Produce light trails. At night, car headlights, t

of illumination can generate interesting light tra
to be mounted on a tripod; handholding the So
movement and patterns to your trails. If you’re
sure—with a tripod—may allow you to combin
shown in Figure 5.6, in which the branches of t
burst of fireworks in the sky.
otography
h good images at longer exposures,

ith long exposure techniques, you’ll
d, a monopod, or another firm sup-
ise reduction both enabled and dis-
you prefer low noise or high detail)
about long exposures is that objects

in a photograph, while the subjects
mal way. That makes it easy to pro-
tural photos at night, or even in full
wo or three) to allow an exposure of
ith a pair of 8X (three-stop) neutral
two seconds; overcast days and/or
k even better if daylight people-van-
very briskly and across the field of
m the camera) for this to work. At
ith the 20- to 30-second exposures
invisibility, long exposures with the

ng streaky effects. Even a single 8X
econd in daylight. Indoors, you can
eeds, as shown in Figure 5.5. I shot
ering the shot at the beginning of a
filters that reduce the amount of

g any color or effect of their own.
taillights, and other moving sources

ails. Your camera doesn’t even need
ony Alpha for longer exposures adds
shooting fireworks, a longer expo-
ne several bursts into one picture, as
the trees in the foreground echo the
Chap
Figure 5.5
The shutter
opened as the
dancers began
their move-
ment from a
standing posi-
tion, and fin-
ished when
they had bent
over and
paused.
■ Blur waterfalls, etc. You’ll find that waterfalls a

produce a special type of long exposure blur, be
tasy-like veil that looks different at different e
waterfalls. Cascades with turbulent flow produc
exposure than falls that flow smoothly. Althou
almost a cliché, there are still plenty of variatio
explore, as you can see in Figure 5.7. For that
stream in the background.
■ Show total darkness in new ways. Even on th
enough starlight or glow from distant illuminati
a long exposure, there is enough light to take a
side park hours after sunset, but found that a se
scene shown in Figure 5.8, even though in real
to make out the boats in the distance. Although t
at twilight or sunset, in fact the shot was made
otography
Figure 5.6
I caught the
fireworks from
a half-mile
away, using a
four-second
exposure to
capture several
bursts in one
shot.
and other sources of moving liquid

ecause the water merges into a fan-
exposure times, and with different
ce a rougher look at a given longer
ugh blurred waterfalls have become
ons for a creative photographer to
t shot, I incorporated the flowing
he darkest, moonless nights, there is

ion sources to see by, and, if you use
a picture, too. I was visiting a lake-
everal-second exposure revealed the
l life, there was barely enough light
the photo appears as if it were taken
at 10 PM.
Chap
Figure 5.7 Long exposures can transform a waterfall and s
Figure 5.8 A long exposure transformed this night scene in

stream into a display of flowing silk.
nto a picture apparently taken at dusk.

Delayed Exposures
Sometimes it’s desirable to have a delay of some sor
Perhaps you’d like to get in the picture yourself, and
waited 10 seconds after you press the shutter release
you want to give a tripod-mounted camera time to
vibration after the release is pressed to improve sha
tively slow shutter speed. It’s possible you want to ex
tography. The next sections present your delayed ex
Self-Timer
The Sony Alpha DSLR-A850 has a built-in self-tim
delays. Activate the timer by pressing the DRIVE b
era, just southeast of the shutter button), then navig
up/down motion of the multi-selector or by spinnin
icon is highlighted, use the left/right motion of the
trol dial to toggle between 2-second and 10-second
button of the multi-selector to lock in your choice.
Next, press the shutter release button halfway to lock
taking a self-portrait, focus on an object at a similar d
you’re ready to take the photo, continue pressing the
The red lamp on the front of the camera next to the
seconds (when using the 10-second timer) and the b
abled it). During the final two seconds, the beeper
blinks faster until the picture is taken. (With the 2-s
with all the signaling; it just calmly waits for two se
Remote Control
As outlined in the discussions of bulb and time e
DSLR-A850 can be triggered using a plug-in remot
an infrared connection. For example, the RM-S1AM
functions, such as activating the shutter and lockin
sures. More versatile is the RMT-DSLR1 infrared r
delay shutter release as well as an immediate shutter
controls for playing back your pictures, but it has to
functions to operate.
otography
rt before a picture is actually taken.

d would appreciate it if the camera
to actually take the picture. Maybe
settle down and damp any residual
arpness for an exposure with a rela-
xplore the world of time-lapse pho-
xposure options.
mer with 10-second and 2-second

button (located on top of the cam-
gate to the self-timer icon with the
ng the front control dial. When that
multi-selector or spin the rear con-
d exposures. Press in on the center
k in focus on your subjects (if you’re

distance and use focus lock). When
e shutter release the rest of the way.
handgrip will blink slowly for eight
beeper will chirp (if you haven’t dis-
sounds more rapidly and the lamp
second timer, the camera dispenses
econds, then snaps the shutter.)
exposures above, your Sony Alpha

te control or a wireless control with
M wired remote gives you very basic
ng down the shutter for long expo-
remote, which includes a 2-second-
r release. It also includes numerous
o be connected to a TV set for those
Chap
Time-Lapse/Interval P
Who hasn’t marveled at a time-lapse
the moon marching across the sky, o
ing something that takes a very, ver
You probably won’t be shooting suc
you don’t need for a few months or
out how to set up your camera in p
tings to shoot a series of pictures at
tography are entirely within reach.
Although the Sony Alpha DSLR-A8
itself, if you’re willing to tether the
USB cable, you can take time-lapse
furnished with your camera. That so
tioning; it has a limited range of int
ter than nothing, and it does a nic
capability of this software is availab
more details about this and other so
Getting into Focus

Prior to the invention of autofocus
mental), focusing was always done
cameras were bigger and brighter th
fiers, and other gadgets were often u
Imagine what it must have been lik
conditions such as sports photograp
Learning to use the Sony Alpha DSL
do need to fully understand how the
you’re comfortable with autofocus,
ual focus option, too. The importan
example, some things that look in sh
not be in focus at a larger size and/o
focus isn’t always to make things lo
sharp. Controlling exactly what is s
Use of depth-of-field characteristics
parts are sharply focused is one of t
But selective focus works only when
For the digital SLR photographer, c
technical and creative process.
Photography
e photograph of a flower opening, a series of shots of
or one of those extreme time-lapse picture sets show-
y long time, such as a building under construction?
ch construction shots, unless you have a spare A850
r are willing to go through the rigmarole of figuring
precisely the same position using the same lens set-
t intervals. However, other kinds of time-lapse pho-
850 can’t take time-lapse/interval photographs all by

e camera to a computer (a laptop will do) using the
e photos using the Remote Camera Control software
oftware provides rather rudimentary time-lapse func-
tervals and numbers of images available, but it’s bet-
ce job within its limitations. (The interval-shooting
ble only with Windows-based computers.) I provide
oftware packages in Chapter 8.
s (in which Sony’s predecessor Minolta was instru-

manually. Honest. Even though viewfinders of film
han they are today, special focusing screens, magni-
used to help the photographer achieve correct focus.
ke to focus manually under demanding, fast-moving
phy.
LR-A850’s modern autofocus system is easy, but you
e system works to get the most benefit from it. Once
, you’ll know when it’s appropriate to use the man-
nt thing to remember is that focus isn’t absolute. For
harp focus at a given viewing size and distance might
or closer distance. In addition, the goal of optimum
ook sharp. Not all of an image will be or should be
sharp and what is not is part of your creative palette.
s to throw part of an image out of focus while other
the most valuable tools available to a photographer.
n the desired areas of an image are in focus properly.
correct focus can be one of the trickiest parts of the
To make your job easier, the Sony Alpha DSLR-A85

focus system that uses a separate sensor in the viewi
of the image. When the contrast is highest at the act
the image is in sharp focus. The active primary focus
represented by horizontal dashes visible in the viewfi
tional 10 secondary autofocus points (I’ll explain the
primary autofocus points can be selected automatic
you, the photographer, while the secondary points a
mation the A850’s “smarts” can use to determine fo
of the advanced “cross” type (that is, it measures in
tions) that works with all Sony lenses having a maxim
has enhanced sensitivity when used with faster lense
The camera also looks for these contrast differences
sharpness. There are two ways that sharp focus ca
(which is what the A850 uses), and contrast detec
Sony digital SLR cameras that have a Live View mo
our eyes operate, and how you focus the camera when
trast detection—detecting focus by how contrasty (
so natural to humans, many people have the miscon
trast detection, too. So I’m going to explain both co
ference between the two. But first, I’ll explain the A
otography
50 has a precision nine-point auto-

ing system to measure the contrast
tive autofocus point(s), that part of
points are actually nine sets of lines
inder (see Figure 5.9), plus an addi-
e difference in the next section).The
cally by the camera, or manually by
are used to provide additional infor-
ocus. The center autofocus point is
both horizontal and vertical direc-
mum aperture of f/2.8 or larger, but
es.
among pixels to determine relative
an be determined, phase detection
ction, which is used by some other
ode. Contrast detection is also how
n you focus manually. Because con-
(or non-blurry) an image looks—is
nception that digital SLRs use con-
oncepts so you can easily see the dif-
A850’s phase detection mode.
Figure 5.9
Any of the nine
primary auto-
focus points
can be selected
by the photog-
rapher manu-
ally or by
the camera
automatically.
Chap
Phase Detection
In this mode, the autofocus sampl
sensor. The two halves are compare
rangefinder used in surveying, weap
M film models. The contrast betwe
out, until sharp focus is achieved w
You can visualize how phase detecti
5.11. (However, your camera’s actua
providing a greatly simplified view
tions that more closely resemble wh
ical horizontally oriented focus sens
weathered piece of wood. The li
rangefinder prism, and you can see
out of focus.
Fortunately, the rangefinder appro
out of focus the image is, and in w
to the amount and direction of th
quickly and precisely snap the imag
Figure 5.10 When an image is out of focus, the split

lines don’t align precisely.
ling area is divided into two halves by a lens in the

ed, much like (actually, exactly like) a two-window
ponry, and non-SLR cameras like the venerable Leica
een the two images changes as focus is moved in or
when the images are “in phase,” or lined up.
ion autofocus works if you look at Figures 5.10 and
al autofocus sensors don’t look anything like this; I’m
w just for illustration; later, I’ll supply some illustra-
hat’s going on in your camera.) In Figure 5.10, a typ-
sor is looking at a series of parallel vertical lines in a
ines are broken into two halves by the sensor’s
e that they don’t line up exactly; the image is slightly
oach of phase detection tells the Alpha exactly how

which direction (focus is too near, or too far) thanks
he displacement of the split image. The camera can
ge into sharp focus and line up the vertical lines, as
Figure 5.11 Using phase detection, the Alpha is able to

align the features of the image and achieve sharp focus
quickly.
shown in Figure 5.11. Of course, this scenario—ve

horizontally oriented sensor—is ideal. When the sam
for, say, horizontal lines that don’t split up quite so
subjects such as the sky (which may have neither v
can slow down drastically, or even become impossib
Phase detection is the normal mode used by the
rangefinder-like function, accuracy is better when
images is larger. (Think back to your high school tr
distance more accurately when the separation betwe
were measured was greater.) For that reason, phase d
with larger (wider) lens openings—especially those
better—than with smaller lens openings, and may
smaller than f/5.6. As I noted, the Alpha is able to
quickly.
Improved Cross-Type Focus Point

One point that new Sony Alpha owners sometimes o
a cross-type focus point at the center position. Why
a closer look at the phase detection system when pre
Figure 5.12 shows the same weathered wood pictur
chosen to rotate the camera 90 degrees (say, because
position). In the illustration, the image within the fo
displaced slightly side to side, but the amount and d
from obvious. A horizontally oriented focus sensor
ous vertical lines to match up. Our best-case subject
case subject for a horizontal focus sensor.
The value of the cross-type focus sensor, which can
tal and vertical directions, can be seen in Figure 5.1
ing the horizontal portion of the cross sensor fits, b
and align the subject to achieve optimum focus. C
zontal and vertical lines with equal aplomb and, if yo
onal angle as well. In lower light levels, with subject
that have no pattern and less contrast to begin with, t
faster but can use phase detection to focus subjects
sensor can’t handle at all.
So, you can see that having a center cross-type focu
faster lenses is a definite advantage.
otography
ertical lines being interpreted by a

me sensor is asked to measure focus
conveniently, or, in the worst case,
vertical nor horizontal lines), focus
ble.
Alpha for autofocus. As with any
the “base length” between the two
rigonometry; you could calculate a
een the two points where the angles
detection autofocus is more accurate
with maximum f/stops of f/2.8 or
not work at all when the f/stop is
o perform these comparisons very
overlook is the advantage of having

y is this important? It helps to take
esented with a non-ideal subject.
red earlier, except in this case we’ve
e we want a vertically oriented com-
ocus sensor’s area is split in two and
direction of the misalignment is far
will be forced to look for less obvi-
t has been transformed into a worst-
interpret contrast in both horizon-

13. The horizontal lines are still giv-
but the vertical bar can easily split
Cross-type sensors can handle hori-
ou think about it, lines at any diag-
ts that are moving, or with subjects
the cross-type sensor not only works
s that a horizontal- or vertical-only
us sensor that is extra sensitive with

Chap
Figure 5.12 A horizontal focus sensor doesn’t handle

horizontal lines very well.
The Alpha A850’s AF Sensors

The generalized description of phas
sors should provide enough of a gro
at the A850’s true autofocus system
As I mentioned earlier, the A850 ac
and secondary, all clustered around
tioning means that the camera is n
the central area, and positioned a
arrangement for full-frame cameras
that their cropped sensor stablemat
AF sensors will cover more of the i
subject of an image is located within
a serious disadvantage. If your subje
lock focus on that subject by doing
■ Focus on your subject, then pre
pose your shot.
■ Use the AF/MF button to lock
that, you’ll need to define that a
AF/MF Button setting, and c
AF/MF button into a focus loc
■ Center your subject and press t
the subject located at the cente
Figure 5.13 Cross-type sensors can evaluate contrast in

both horizontal and vertical directions, as well as
diagonally.
se detection, horizontal, vertical, and cross-type sen-

ounding in what’s going on to provide a closer look
m.
ctually has two classes of autofocus sensors, primary
the center of the image frame. This centralized posi-
not able to adjust focus for subjects that are outside
at the edges of the frame. That’s actually a typical
s, which use the same (or similar) AF sensor arrays
tes use; in a camera that has a 1.5X crop factor, the
image frame. Most of the time, however, the main
n the AF sensor area, so the tighter arrangement isn’t
ect is located outside the central area, you can always
g one of the following:
ess the shutter release halfway down, and then recom-
k focus, independently of the shutter release. To do

action by visiting the Custom menu 1, choosing the
choosing the AF lock option. That transforms the
ck control.
the center of the multi-selector. That locks focus on
er focus spot.
The nine primary autofocus points are shown in Fig

show the approximate area covered by the focus s
points, located to the left and right of the center, are
them especially suitable for focusing horizontal line
lines, and not so good at differentiating focus with
previous section).
Two of the AF sensors, located above and below the
which makes them work best with vertical lines, and
frame is a larger cross-type sensor that handles hori
with equal aplomb. A horizontal band of this centr
tive when using a lens with an f/2.8 or larger apertu
If you’re keeping score, that means your camera has n
with diagonal lines, seven that work well with horizo
job with vertical lines. You can select any of these
select them for you), as I’ll describe in the next sec
says, there’s more.
The A850 has ten additional secondary or suppleme
mary points, as shown highlighted in blue in Figure 5
they are horizontal or vertical points, but you can m
way they are arranged; the supplemental points ap
points they are adjacent to.
otography
gure 5.14, highlighted with green to

sensors. Note that six of the focus
e vertical focus sensors. That makes
es, fairly good at handling diagonal
vertical lines (as I described in the
e center spot, are horizontal sensors,

d diagonal lines. In the center of the
izontal, vertical, and diagonal lines
ral focusing area is also more sensi-
ure.
nine primary sensors that work great
ontal lines, and three that do a good
nine points (or allow the A850 to
ction. But wait, as the info-mercial
ental AF points adjacent to the pri-

5.15. Sony doesn’t indicate whether
make some excellent guesses by the
ppear to be of the same type as the
Figure 5.14
There are nine
primary auto-
focus points,
highlighted in
the figure with
green. (The
green tone does
not appear in
the viewfinder.)
Chap
These “bonus” points, used only wh

(discussed shortly), aren’t user-selec
active. Instead, they provide the c
movement of your subject, which i
AF coverage area in Wide mode in
Figure 5.15
Ten supple-
mentary auto-
focus points
are clustered
around the pri-
mary points
(highlighted in
blue so you can
see where they
are located).
Figure 5.16
Working
together, the
primary and
supplementary
autofocus
points can lock
focus on sub-
jects located in
the center of
the frame.
hen the camera is set for Wide Area autofocus mode

ctable, and aren’t illuminated in the viewfinder when
camera with more information about position and
is useful when tracking subjects. You can see the full
Figure 5.16.
Contrast Detection
This is a slower mode, suitable for static subjects, an
and Sony models with Live View mode. It’s a bit eas
by Figure 5.17. At top in the figure, the transitions be
are soft and blurred because of the low contrast betw
uses the same vertical lines used with the phase detect
features doesn’t matter. The focus system (in this case,
looks only for contrast between edges, and those edg
At the bottom of Figure 5.17, the image has been
edges have much more contrast; the transitions are sh
ple is a bit exaggerated so you can see the results on
stand that when maximum contrast in a subject is a
sharp focus. Although achieving focus with contras
slower, because you’re doing it manually, there are se
■ Works with more image types. Contrast detec
rotated 90 degrees from the sensor’s orientation
Any subject that has edges will work.
■ Focus on any point. While phase detection focu
that fall under one of the nine autofocus sensors
tion of the image can be used as you view the
actual sensor image, so focus point selection is
part of the sensor image to use.
otography
nd used by point-and-shoot cameras

sier to understand, and is illustrated
etween the edges found in the image
ween them. Although the illustration
ction example, the orientation of the
, our eyes when using manual focus)
ges can run in any direction.
brought into sharp focus, and the
harp and clear. Although this exam-
the printed page, it’s easy to under-
achieved, it can be deemed to be in
st detection is generally quite a bit
everal advantages to this method:
ction doesn’t require subject matter
for you to use it to focus manually.
us can be achieved only at the points

s, with contrast detection, any por-
image. Focus is achieved with the
simply a matter of choosing which
Figure 5.17
Manual focus
in contrast
detection mode
allows you to
evaluate the
increase in con-
trast in the
edges of sub-
jects, starting
with a blurry
image (top)
and producing
a sharp, con-
trasty image
(bottom).
Chap
■ Potentially more accurate. Ph

operative subject matter: if sui
hunt for focus or achieve less th
cut. The eye can clearly see wh
The Alpha’s phase detect autofocus m
eras, evaluates the degree of focus,
the progression perfectly, so that au
an image that has sufficient contras
autofocus effectively involve telling
on, by choosing a focus zone or by
I’ll address that topic shortly.
As the camera collects focus inform
mine whether the desired sharp foc
whether the subject is moving, and
subject will be when the shutter rele
The speed with which the camera i
ments into the proper position to
autofocus mechanism is.
Focus Modes
The Sony Alpha has three AF mod
or AF-S), Continuous AF (or AF-C)
the two as appropriate). I’ll explain
MANUAL FOCUS
With manual focus activated by sett
Sony Alpha lets you set the focus yo
tune focus and switch to manual by
tages and disadvantages to this appro
Manual focus mode, it will take you
that can be tricky. Modern digital ca
that the viewfinders of models that h
designed for optimum manual focus
brighter viewfinder with a focusing s
A850 offers .74X magnification. (Th
appears to be 74 percent of life size.)
hase detection can fall prey to the vagaries of unco-

itable lines aren’t available, the system may have to
han optimal focus. Contrast detection is more clear-
hen the highest contrast has been achieved.
mechanism, like all such systems found in SLR cam-
but, unlike the human eye, it is able to remember
utofocus can lock in much more quickly and, with
st, more precisely. Many of the techniques for using
g the Sony Alpha exactly what it should be focusing
allowing the camera to choose a focus zone for you.
mation from the sensors, it then evaluates it to deter-

cus has been achieved. The calculations may include
d whether the camera needs to “predict” where the
ease button is fully depressed and the picture is taken.
is able to evaluate focus and then move the lens ele-
achieve the sharpest focus determines how fast the
des: Single-shot AF (also known as single autofocus,

), and Automatic AF (AF-A, which switches between
n all of these in more detail later in this section.
ting the switch on the front of the camera body, your

ourself. If you’re using autofocus, you can always fine-
pressing the AF/MF button. There are some advan-
oach. While your batteries will last slightly longer in
u longer to focus the camera for each photo, a process
ameras, even dSLRs, depend so much on autofocus
have less than full-frame-sized sensors are no longer
s. Pick up any film camera and you’ll see a bigger,
screen that’s a joy to focus on manually. The DSLR-
hat means that with a 50mm focal length, the image
)
Focus Pocus
Prior to the introduction of dSLR autofocus capabil
of film cameras, focusing was always done manuall
ers were bigger and brighter than they are today, sp
and other gadgets were often used to help the ph
Imagine what it must have been like to focus manua
conditions such as sports photography. Minolta, wh
used in Sony Alpha cameras and lenses, was actually
systems.
Manual focusing is problematic because our eyes and
rect focus, which is why your eye doctor must shift b
and ask “Does that look sharper—or was it sharper
rect prescription. Similarly, manual focusing involv
forth as you go from almost in focus, to sharp focu
tle clockwise and counterclockwise arcs decrease in
point of correct focus. As I mentioned earlier in this
the image with the most contrast between the edges
The Sony Alpha’s autofocus mechanism, like all su
also evaluates these increases and decreases in sharpn
progression perfectly, so that autofocus can lock in
image that has sufficient contrast, more precisely. Un
focus system finds it easy to measure degrees of appar
in the viewfinder, it doesn’t really know with any c
sharpest focus. Is it the closest object? The subject
behind the closest subject? A person standing over at
ofocus effectively involves telling the Sony DSLR exa
Adding Circles of Confusion

But there are other factors in play, as well. You know
more of your subject into focus. But more depth-o
manual focusing) more difficult because the contras
ent distances. So, autofocus with a 200mm lens (or z
a 28mm focal length (or zoom setting) because the l
of-field. By the same token, a lens with a maximum
autofocus (or manually focus) than one of the same
aperture, because the f/4 lens has more depth-of-fie
lenses with a maximum aperture smaller than f/5.6
cus system fits, because the largest f/stop is the lens
otography
lities in the 1980s, back in the days

ly. Honest. Even though viewfind-
pecial focusing screens, magnifiers,
hotographer achieve correct focus.
ally under demanding, fast-moving
hich pioneered the technology now
y a pioneer in developing autofocus
d brains have poor memory for cor-

back and forth between sets of lenses
r before?” in determining your cor-
ves jogging the focus ring back and
us, to almost focused again. The lit-
n size until you’ve zeroed in on the
s chapter, what you’re looking for is
s of elements in the image.
uch systems found in SLR cameras,
ness, but it is able to remember the
n much more quickly and, with an
nfortunately, while the Sony Alpha’s
rent focus at each of the focus points
certainty which object should be in
t in the center? Something lurking
t the side of the picture? Using aut-
actly what it should be focusing on.
that increased depth-of-field brings

of-field also makes autofocusing (or
st is lower between objects at differ-
zoom setting) may be easier than at
longer lens has less apparent depth-
m aperture of f/1.8 will be easier to
focal length with an f/4 maximum
eld and a dimmer view. That’s why
can give your Sony Alpha’s autofo-
opening the camera uses to focus.
Chap
To make things even more complic

still. They move around in the fram
your main subject, it may change p
ject may pop into the frame and pa
tograph. You (or the Alpha DSLR)
subject, or remain focused on the o
jects that are difficult to bring into
allow the Sony Alpha’s AF system (o
or other subject matter may make f
If you find all these focus factors co
measured using something called a
lions of tiny little points, which, lik
There is perfect contrast between th
point as a pinpoint of light in a da
its edges decrease in contrast and i
blurry edges (remember, blur is the
(See Figure 5.18.)
Figure 5.18
When a pin-
point of light
(left) goes out
of focus, its
blurry edges
form a circle of
confusion (cen-
ter and right).
If this blurry disc—the circle of con

a point. It’s only when the disc gro
than a sharp point that a given poi
enlarging an image, either by displa
ing a large print, also enlarges the si
image does the same thing. So, par
× 7-inch print viewed at arm’s leng
and examined at the same distance.
look sharp again.
cated, many subjects aren’t polite enough to remain

me, so that even if the Alpha is sharply focused on
position and require refocusing. An intervening sub-
ass between you and the subject you meant to pho-
) have to decide whether to lock focus on this new
original subject. Finally, there are some kinds of sub-
o sharp focus because they lack enough contrast to
or our eyes) to lock in. Blank walls, a clear blue sky,
focusing difficult.
onfusing, you’re on the right track. Focus is, in fact,
a circle of confusion. An ideal image consists of zil-
ke all points, theoretically have no height or width.
he point and its surroundings. You can think of each
arkened room. When a given point is out of focus,
it changes from a perfect point to a tiny disc with
e lack of contrast between boundaries in an image).
nfusion—is small enough, our eye still perceives it as

ows large enough that we can see it as a blur rather
int is viewed as out of focus. You can see, then, that
aying it larger on your computer monitor or by mak-
ize of each circle of confusion. Moving closer to the
rts of an image that may look perfectly sharp in a 5
gth, might appear blurry when blown up to 11 × 14
. Take a few steps back, however, and the image may
To a lesser extent, the viewer also affects the apparen

Some people see details better at a given distance a
confusion than someone standing next to them. Fo
ferences are small. Truly blurry images will look blur
same conditions.
Technically, there is just one plane within your pict
camera (or sensor, in the case of a digital camera), tha
in which the points of the image are rendered as pre
front of or behind the focus plane, the points show
blurry to extremely blurry. In practice, the discs in m
small that we see them as points, and that’s where we
is just the range of planes that include discs that we pe
splotches. The size of this range increases as the ape
cated roughly one-third in front of the plane of sha
it. The range of sharp focus is always greater behind
although in many cases, depth-of-field will be very
Making Sense of Focus Sensors

The number and type of autofocus sensors can affec
I mentioned, the Sony Alpha DSLR-A850 has nin
mentary points. The Alpha DSLR-A700 has eleven
other vendors have as many as 45-51 autofocus sen
sist of vertical or horizontal lines of pixels, cross-sh
types within a single camera, although, as I said earli
type sensor at the center position. The more AF po
camera can differentiate among areas of the frame, an
ify the area you want to be in focus if you’re manua
As the camera collects focus information from the se
mine whether the desired sharp focus has been achie
whether the subject is moving, and whether the ca
subject will be when the shutter release button is fully
The speed with which the camera is able to evaluate
ments into the proper position to achieve the sharp
autofocus mechanism is. Although your Sony Alp
quickly than a human, there are types of shootin
enough.
For example, if you’re having problems shooting spo
focus system manically follows each moving subject,
autofocus modes or shift into Manual and prefocus
otography
nt size of these circles of confusion.

and may perceive smaller circles of
or the most part, however, such dif-
rry to just about everyone under the
ture area, parallel to the back of the

at is in sharp focus. That’s the plane
ecise points. At every other plane in
up as discs that range from slightly
many of these planes will still be so
e get depth-of-field. Depth-of-field
perceive as points rather than blurred
erture is reduced in size and is allo-
arpest focus, and two-thirds behind
d your subject than in front of it—
shallow, as shown in Figure 5.19.
ct how well the system operates. As

ne main AF points and ten supple-
AF points, and some cameras from
nsors. These focus sensors can con-
hapes, and often a mixture of these
ier, the Sony A850 includes a cross-
oints available, the more easily the
nd the more precisely you can spec-
ally choosing a focus spot.
ensors, it then evaluates it to deter-
eved. The calculations may include
amera needs to “predict” where the
y depressed and the picture is taken.
e focus and then move the lens ele-
pest focus determines how fast the
pha will almost always focus more
ng situations where that’s not fast
orts because the Sony Alpha’s auto-

, a better choice might be to switch
on a spot where you anticipate the
Chap
Figure 5.19
Only the owl is
in focus, but
the area behind
him appears
blurry because
the depth-of-
field is limited.
action will be, such as a goal line or soccer net. At

when I am shooting with a telephoto lens almost wi
one of the referees who happens to be standing whe
place (say, a halfback run or a pass reception). When
to happen, I may switch to Continuous (AF-C ) AF
Your Autofocus Mode Options

Choosing the right autofocus mode and the way in
your key to success. Using the wrong mode for a p
lead to a series of pictures that are all sharply focuse
first started shooting sports with an autofocus SLR
covered one baseball game alternating between sho
with pictures of a promising young pitcher, all from
dugout. The base runner and outfielder photos wer
didn’t distract the autofocus mechanism. But all my
tightly zeroed in on the fans in the stands behind
instead of a digital camera, I didn’t know about my
A simple change, such as locking in focus or focus
focusing, would have done the trick.
To save battery power, your Sony Alpha DSLR-A850
you partially depress the shutter release. But, autof
there snapping your pictures in and out of focus wi
press that button. There are several settings you can
icum of control to you. Your first decision should b
to Single-shot AF (AF-S), Continuous AF (AF-C),
switch below the lens at the left front of the camera
A, and AF-C. (The AF/MF switch on the side of a
set to AF before you can change autofocus mode, b
until you switch the lens to AF mode.)
When the image under the current focus area (des
focus confirmation indicator in the viewfinder will
ready to shoot. If the green light framed by parent
focus is set, and the focus point will follow a movin
any time. When only the green brackets are illumina
and the shutter is locked. A flashing green indicat
unable to focus. The shutter is locked. You may nee
this shot.
otography
night football games, for example,

ide open, I often focus manually on
ere I expect the action to be taking
n I am less sure about what is going
F and let the camera decide.
n which focus points are selected is

particular type of photography can
ed—on the wrong subject. When I
R (back in the film camera days), I
ots of base runners and outfielders
m a position next to the third base
re great, because their backgrounds
photos of the pitcher had the focus
him. Because I was shooting film
gaffe until the film was developed.
s zone manually, or even manually
0 doesn’t start to focus the lens until

focus isn’t some mindless beast out
ith no feedback from you after you
n modify that return at least a mod-
be whether you set the Sony Alpha
or Automatic AF (AF-A). Use the
a to choose from among AF-S, AF-
a Sony AF lens does not need to be
but the mode will not be activated
scribed later) is in sharp focus, the

glow a steady green; the camera is
theses-like brackets is illuminated,
ng subject. You can take a picture at
ated, the Alpha is still seeking focus,
tor dot indicates that the Alpha is
ed to switch to Manual focus to get
Chap
Single-Shot AF
In this mode, also called single auto
until the button is fully depressed,
button without taking a shot. Activa
non-action photography, this settin
focus pictures (at the expense of spo
be able to take a picture at all while
the autofocus mechanism is happy
times referred to as focus priority fo
camera zeroes in on correct focus, y
mode uses less battery power. Whe
will flash red in the viewfinder, and
glow green.
Continuous AF
This mode is the one to use for sp
once the shutter release is partially
to monitor the subject, so that if it
suit. Focus and exposure aren’t reall
the way to take the picture. As I m
viewfinder is flanked by parenthese
focus, but the Alpha will change fo
most battery power, because the aut
button is partially depressed.
Continuous AF uses a technology c
culate the correct focus if the subje
constant rate. It uses either the auto
manually to set focus.
Automatic AF
This setting is actually a combinati
camera focuses using Single-shot A
begins moving, it will switch autom
keep the subject sharp. Automatic A
of action pictures and less dynamic
ble. The camera will default to that
when it would be useful for subject
Manual Focus
The same focus mode switch can b
must choose the focus yourself by r
ofocus, focus is set once and remains at that setting

, taking the picture, or until you release the shutter
ate by pressing the shutter release halfway down. For
ng is usually your best choice, as it minimizes out-of-
ontaneity). The drawback here is that you might not
e the camera is seeking focus; you’re locked out until
y with the current setting. Single autofocus is some-
or that reason. Because of the small delay while the
you might experience slightly more shutter lag. This
en sharp focus is achieved, the selected focus point
d the focus confirmation light at the lower right will
ports and other fast-moving subjects. In this mode,

depressed, the camera sets the focus but continues
t moves or you move, the lens will be refocused to
ly locked until you press the shutter release down all
mentioned, the focus confirmation indicator in the
es-like brackets, which indicates that the image is in
ocus as your subject moves. Continuous AF uses the
tofocus system operates as long as the shutter release
called predictive AF, which allows the camera to cal-

ect is moving toward or away from the camera at a
omatically selected AF point or the point you select
ion of the first two. When this mode is selected, the

AF and locks in the focus setting. But, if the subject
matically to Continuous AF and change the focus to
AF is a good choice when you’re shooting a mixture
c shots and want to use Single-shot AF when possi-
t mode, yet switch automatically to Continuous AF
ts that might begin moving unexpectedly.
be used to choose Manual focus, which means you

rotating the focus ring on the lens.
Setting the AF Area

You can specify which of the nine main focus points
to calculate correct focus, or you can allow the came
that the A850 has its autofocus points clustered wit
ter of the screen, which indicate the general AF area
era) can focus only on subjects that fall under one
somewhere else in the frame, you’ll need to place y
autofocus area, focus, and then lock focus by pressing
(or by pressing the AF/MF button, if you have set
menu 1). You can then reframe your photo with the
There are three AF area options, shown in Figure 5
to the AF area selection, press the multi-selector’s cen
three choices from the menu screen. If you don’t ne
which icon represents which AF area, you can take
front or rear control dial to scroll through the three c
shutter button halfway (or press the Fn button) to r
■ Wide. The Alpha chooses the appropriate focus
on the screen. However, you can switch to the c
in on the multi-selector’s center button.
■ Spot. The Alpha always uses the center, cross-t
focus.
■ Local. Use the multi-selector to move the foc
zones. Press the multi-selector’s center button
focus sensor quickly.
Figure 5.20 Choose from (left to right): Wide (the Alpha

focus spot is used), or Local (you can choose which area to u
otography
s the Sony Alpha DSLR-A850 uses

era to select the point for you. Note
thin the square brackets in the cen-
a. That means that you (or the cam-
e of the autofocus marks. To focus
your subject under the appropriate
g the shutter release button halfway
it to Focus-lock with the Custom
e focus locked in.
5.20. Press the Fn button, navigate
nter button, and select one of these
eed the menu screen to remind you
a shortcut, and just spin either the
choices. Then you can just press the
return to shooting mode.
s zone from the nine main AF areas
center (Spot) focus zone by pressing
type focus zone to calculate correct
cus zone among the nine available

to switch to the center, cross-type
selects one of the nine AF areas), Spot (only the center

use).
Chap
Fine-Tuning the Focu

In Chapter 3, I introduced you to
I noted, you might not ever need
that a particular lens is not focusin
or a bit behind the actual point of
use the adjustment feature, found i
Why is the focus “off ” for some l
including the age of the lens (an o
ture effects on certain types of glass
that all add up to a slight misadjust
strictly speaking, within specs. A v
focus to vary slightly. With any lu
exactly right will at least be consis
ject, the symptom is back focus. If
focus.
You’re almost always better off sen
right. But that’s not always possible
or you purchased a used lens that
self, the first thing to do is determin
focus problem.
For a quick-and-dirty diagnosis (no
lay down a piece of graph paper on
middle, which will represent the po
angle using your lens’s widest apertu
the camera on a tripod so you can g
If your camera/lens combination d
sharpest focus will be the center lin
do have a problem, one of the othe
discover that your lens consistently
Unfortunately, it’s only possible to
you use a particular lens (such as a
you use a lens primarily for middle
tances are most likely to cause focus
ity, small changes in focus are less l
us of Your Lenses
o the A850’s AF Micro Adjustment feature, which,
d to use, because it is applied only when you find
ng properly. If the lens happens to focus a bit ahead
sharp focus, and it does that consistently, you can
in the Setup menu 3, to “calibrate” the lens’s focus.
lenses in the first place? There are lots of factors,
older lens may focus slightly differently), tempera-
s, humidity, and tolerances built into a lens’s design
tment, even though the components themselves are,
very slight variation in your lens’s mount can cause
uck (if you can call it that) a lens that doesn’t focus
stent. If a lens always focuses a bit behind the sub-
f it focuses in front of the subject, it’s called front
nding such a lens in to Sony to have them make it

e. Perhaps you need your lens recalibrated right now,
is long out of warranty. If you want to do it your-
ne whether or not your lens has a back focus or front
ot a calibration; you’ll use a different target for that),

n a flat surface, and place an object on the line at the
oint of focus (we hope). Then, shoot the target at an
ure and the autofocus mode you want to test. Mount
get accurate, repeatable results.
doesn’t suffer from front or back focus, the point of
ne of the chart, as you can see in Figure 5.21. If you
er lines will be sharply focused instead. Should you
y front or back focuses, it needs to be recalibrated.
calibrate a lens for a single focusing distance. So, if
macro lens) for close-focusing, calibrate for that. If
e distances, calibrate for that. Close-to-middle dis-
problems, anyway, because as you get closer to infin-
likely to have an effect.
otography
Figure 5.21
Correct focus
(top), front
focus (middle),
and back focus
(bottom).
Chap
Lens Tune-Up
The key tool you can use to fine-tu
menu 3. You’ll find the process easi
overview of the menu options:
■ On. This option enables AF fin
menu entry. If you discover you
situations (say, it works better
but is less successful at correctin
ture as you require. You should
tuning. Adjustment values rang
■ Off. Disables autofocus micro
■ Clear. Erases all user-entered
When you select the entry, a me
ter button of the multi-selector
Evaluate Current Focus

The first step is to capture a baseli
fine-tune autofocuses at a particular
a test chart with millimeter markin
focus on a particular point on the c
focus will help you recalibrate you
information you get from photograp
what to do to make a precise corre
behind the target area on the char
Value by –3 clicks? Or –15 clicks?
time.
Instead, you’ll want to photograph
to achieve: a plane of focus locked
focus of your subject. For that, you’
lar to the sensor plane of the came
focus is correct, and if not, dial in a
shoot again. Lather, rinse, and repe
You can use the focus target shown
as long as it has contrasty areas tha
without very small details that are l
of my chart from www.dslrguides.c
largest paper your printer can hand
une your lens is the AF Micro Adj entry in the Setup

ier to understand if you first run through this quick
ne tuning for all the lenses you’ve registered using the

u don’t care for the calibrations you make in certain
for the lens you have mounted at middle distances,
ng close-up focus errors) you can deactivate the fea-
d set this to On when you’re doing the actual fine-
ge from –20 to +20.
adjustment.
adjustment values for the lenses you’ve registered.
essage will appear. Select OK and then press the cen-
r to confirm.
ine image that represents how the lens you want to

r distance. You’ll often see advice for photographing
ngs from an angle, and the suggestion that you auto-
chart. Supposedly, the markings that actually are in
ur lens. The problem with this approach is that the
phing a test chart at an angle doesn’t actually tell you
ection. So, your lens back focuses three millimeters
rt. So what? Does that mean you change the Saved
Angled targets are a “shortcut” that don’t save you
h a target that represents what you’re actually trying

d in by your lens that represents the actual plane of
u’ll need a flat target, mounted precisely perpendicu-
era. Then, you can take a photo, see if the plane of
bit of fine-tuning in the AF Fine Tuning menu, and
eat until the target is sharply focused.
n in Figure 5.22, or you can use a chart of your own,
at will be easily seen by the autofocus system, and
likely to confuse the AF. Download your own copy
com/FocusChart.pdf. Then print out a copy on the
dle. (I don’t recommend just displaying the file on
Figure 5.22 Use this focus test chart, or create one of your
otography
r own.
Chap
your monitor and focusing on that;

perfectly perpendicular to the came
1. Position the camera. Place yo
attached, positioned at roughly
the distance you want to test fo
ferent at varying distances and
correction value for a particular
and zoom setting with your sho
2. Set the autofocus mode. Cho
to test. (Because AF-A mode ju
that mode.)
3. Level the camera (in an ideal
dicular, you can use a bubble l
ensure that the camera is level t
ble levels built in. Avoid using
properly oriented, lock the legs
4. Level the camera (in the real
use this old trick. Tape a mirro
pod so that when you look thr
into the reflection of the lens. T
5. Mount the test chart. Tape the
era’s viewfinder.
6. Photograph the test chart us
test photo, using the remote re
7. Make an adjustment and reph
tograph the target again.
8. Evaluate the image. If you ha
USB cable or through a WiFi
image after it’s transferred to yo
card door and slip the memory
9. Evaluate focus. Which image i
lens. If your initial range doesn
between –20 and +20 until you
; it’s unlikely you’ll have the monitor screen lined up

era sensor.) Then, follow these steps:
our camera on a sturdy tripod with a remote release
y eye-level at a distance from a wall that represents
or. Keep in mind that autofocus problems can be dif-
d lens focal lengths, and that you can enter only one
r lens. So, choose a distance (close-up or mid range)
ooting habits in mind.
oose the autofocus mode (AF-C or AF-S) you want
ust alternates between the two, you don’t need to test
world). If the wall happens to be perfectly perpen-

level, plumb bob, or other device of your choice to
to match. Many tripods and tripod heads have bub-
the center column, if you can. When the camera is
s and tripod head tightly.
world). If your wall is not perfectly perpendicular,
or to the wall, and then adjust the camera on the tri-
rough the viewfinder at the mirror, you see directly
Then, lock the tripod and remove the mirror.
e test chart on the wall so it is centered in your cam-
sing AF. Allow the camera to autofocus, and take a

elease to avoid shaking or moving the camera.
hotograph. Make a fine-tuning adjustment and pho-
ave the camera connected to your computer with a

connection, so much the better. You can view the
our computer. Otherwise, carefully open the camera
y card out and copy the images to your computer.
is sharpest? That’s the setting you need to use for this
n’t provide the correction you need, repeat the steps
u find the best fine-tuning.
Continuous Shooting
The Sony DSLR’s continuous shooting modes remi
has brought us. The first accessory I purchased when
some years ago was a motor drive for my film SLR. I
shots at a 3 fps rate, which came in very handy when
and headed for the end zone. Even a seasoned actio
sive instant when a crucial block is made, or a baseba
of cork fly out. Continuous shooting simplifies ta
ensure that one has more or less the exact moment y
sequence that is interesting as a collection of success
The Sony Alpha DSLR-A850’s “motor drive” capabil
rior to what you get with a film camera. For one thin
eat up film at an incredible pace, which is why many
hold hundreds of feet of film stock. At three frames p
a short burst of a few seconds can burn up as much
roll of film. Digital cameras like the Alpha, in contr
waste a few dozen shots on non-decisive moments, y
The increased capacity of digital film cards gives you
work with. At a baseball game I covered last year, I
couple hours. Yet, even with my Alpha DSLR-A85
able to cram 790 JPEG Fine images on a single 8GB
PRO Duo card. That’s a lot of shooting. Given an a
per sequence (nobody really takes 15-20 shots or mo
I was able to capture 38 different sequences before I
shows a typical short burst of three shots taken at a b
for a lay-up.
On the other hand, for some sports (such as footbal
because running and passing plays often last 5 to 10
as the action switches from the quarterback droppin
then to the receiver or running back trying to gain a
To use the Sony Alpha DSLR-A850’s Continuous
button on top of the camera. Then navigate through
of the multi-selector or by spinning the front contr
(continuous advance) mode is selected. Press the co
your choice, or just press the shutter button halfwa
Figure 5.24.) When you partially depress the shutter
a number representing the maximum number of co
current quality settings at the Alpha’s 3 fps burst rate
ber above 9, so there may be more shots remaining th
otography
ind me how far digital photography

n I worked as a sports photographer
It enabled me to snap off a series of
n a fullback broke through the line
on photographer can miss the deci-
all superstar’s bat shatters and pieces
aking a series of pictures, either to
you want to capture or to capture a
sive images.
lities are, in many ways, much supe-
ng, a motor-driven film camera can
of them are used with cassettes that
per second (typical of film cameras),
h as half of an ordinary 36 exposure
rast, have reusable “film,” so if you
you can erase them and shoot more.
u a prodigious number of frames to
took more than 1,000 images in a
50’s 24-megapixel resolution, I was
B Compact Flash or Memory Stick
average burst of about eight frames
ore of one play in a baseball game),
I needed to swap cards. Figure 5.23
basketball game as a player drove in
ll) the longer bursts came in handy,

0 seconds, and change in character
ng back to pass or hand off the ball,
as much yardage as possible.
shooting mode, press the DRIVE
h the list with the up/down motion
rol dial, until the Continuous Adv.
ontroller center button to confirm
ay to return to shooting mode. (See
r button, the viewfinder will display
ontinuous shots you can take at the
e. (This display cannot show a num-
han the viewfinder’s display shows.)
Chap
Figure 5.23 Continuous shooting allows you to capture an
Figure 5.24
Press the
DRIVE button
and navigate
with the multi-
selector or the
front control
dial to select
Continuous
adv.
n entire sequence of exciting moments as they unfold.

To increase this number, reduce the image quality

(from RAW & JPEG), to a lower JPEG quality settin
resolution (image size) from L (24 MP) to M (13 M
the 3:2 aspect ratio). Your bursts are limited because
into the Sony Alpha’s internal memory buffer, then
quickly as they can be written to the card. Technica
data received from the digital image processor and con
selected—either JPEG or RAW—and deposits it in t
This internal “smart” buffer can suck up photos mu
card and, indeed, some memory cards are signific
When the buffer fills, you can’t take any more cont
has written some of them to the card, making mor
keep in mind that faster memory cards write imag
space faster.)
Setting Image Parameters

You can fine-tune the images that you take in several
don’t want to choose a predefined white balance or
cussed earlier in this book in Chapter 4), you can se
the illumination of the site where you’ll be taking
based on color temperature. With the Creative Style
saturation, contrast, sharpness, and other values for
tion shows you how to use the available image param
Customizing White Balance

Back in the film days, color films were standardized,
of light. Digital cameras like the Sony Alpha DSLR-
ideally, correctly matched to the color of light used
right white balance is measured using a scale called
tures were assigned by heating a theoretical “black
spectrum of light it emitted at a given temperature
noon has a color temperature in the 5,500 to 6,000
is around 3,400 degrees. Hotter temperatures produ
hot) while cooler temperatures produce redder im
ember). Because of human nature, though, bluer ima
wintry day) and redder images are called “warm” (
their color temperatures are reversed.
If a photograph is exposed indoors under warm illum
sor balanced for cooler daylight, the image will ap
otography
setting by switching to JPEG only

ng, or by reducing the Sony Alpha’s
MP) or S (6.1 MP) (these sizes are for
continuous images are first shuttled
n doled out to the memory card as
ally, the Sony Alpha takes the RAW
nverts it to the output format you’ve
the buffer ready to store on the card.
uch more quickly than the memory
cantly faster or slower than others.
tinuous shots until the Sony Alpha
re room in the buffer. (You should
ges more quickly, freeing up buffer
l different ways. For example, if you

r use white balance bracketing (dis-
et a custom white balance based on
photos, or choose a white balance
options, you can set up customized
various types of pictures. This sec-
meters.
or balanced, for a particular “color”

-A850 use a “white balance” that is,
d to expose your photograph. The
d color temperature. Color tempera-
k body radiator” and recording the
e in degrees Kelvin. So, daylight at
0 degree range. Indoor illumination
uce bluer images (think blue-white
mages (think of a dull-red glowing
ages are actually called “cool” (think
(think ruddy sunset), even though
mination with a digital camera sen-

ppear much too reddish. An image
Chap
exposed outdoors with the white b

much too blue. These color casts m
image editor, though if you shoot R
value when you import the image i
Mismatched white balance setting
think, even for experienced photog
some photos indoors with electroni
the concert began, I resumed shoo
looked white to the eye—and ende
Figure 5.25
An image
exposed
indoors with
the WB set for
daylight or
electronic flash
will appear too
reddish.
balance set for incandescent illumination will seem

may be too strong to remove from JPEG files in an
RAW you can change the WB setting to the correct
into your editor.
gs are easier to achieve accidentally than you might
graphers. I’d just arrived at a concert after shooting
ic flash and had manually set WB for flash. Then, as
oting using the incandescent stage lighting—which
ed up with a few shots like Figure 5.25. Eventually,
I caught the error during picture review, and change

I was shooting outdoors, but had the camera white b
mination. The excessively blue image shown in Figu
The Auto White Balance (AWB) setting, available
pressing the Fn key and navigating to the White bala
causes the camera to examine your scene and choose
scene and the colors it contains. However, the Sony
foolproof. Under bright lighting conditions, it may e
still assume the light source is daylight and balance th
in fact, you may be shooting under extremely bright
mer light, the camera’s electronics may assume that
there are lots of reddish colors present, set color bala
with mercury vapor or sodium lamps, correct whit
achieve; it’s recommended that you use flash instead
corrections when importing the file into your image
otography
ed my white balance. Another time,

balance still set for incandescent illu-
ure 5.26 resulted.
by pressing the WB button or by
ance item on the Quick Navi menu,
an appropriate value based on your
Alpha’s selection process is far from
evaluate the colors in the image and
he picture accordingly, even though,
incandescent illumination. In dim-
the illumination is tungsten, and if
ance for that value. Sony notes that
te balance is virtually impossible to
d, or shoot in RAW and make your
e editor.
Figure 5.26
An image
exposed under
daylight illumi-
nation with the
WB set for
tungsten illu-
mination will
appear too
blue.
Chap
Of course, flash isn’t completely con

tronic flash units, such as the Sony
camera the particular white balance
perature can vary depending on ho
its own white balance setting autom
the flash.
The other presets in the WB list ap
from Daylight, Shade, Cloudy, Tu
shown in Figure 5.27 (it’s scrolled o
are selected, you can fine-tune the
right, or spinning the rear control d
dish; going to the left makes the im
(each increment amounts to about
version filters). If you want to be m
ture option, described shortly.
The Daylight setting sets WB to a
bluer 7,500K. The chief difference
light sources is nothing more than
of colors is continuous, but it is bia
Figure 5.27
Your white
balance preset
selections
include (top
to bottom):
Automatic,
Daylight,
Shade, Cloudy,
Tungsten, and
Fluorescent,
plus (not
shown) Flash,
Color Temp-
erature, and
Custom.
nsistent in white balance, either. However, some elec-

y HVL-series dedicated flash units, can report to the
e that they are outputting, since a flash’s color tem-
ow brief the flash exposure is. The Alpha can adjust
matically, based on the information it receives from
pply to specific lighting conditions. You can choose

ungsten, Fluorescent, and Flash. All but Flash are
off the bottom). When any of these other than AWB
white balance by pressing the multi-selector left or
dial. Moving to the right makes the image more red-
mage bluer. You can choose plus/minus 3 increments
10 mired, which is a unit used to classify color con-
more precise, you’ll need to use the Color tempera-
about 5,300K, while the Shade setting uses a much

between direct daylight and shade or even tungsten
the proportion of red and blue light. The spectrum
ased toward one end of the spectrum or the other.
However, some types of fluorescent lights produce il

in certain colors, such as only particular shades of re
rainbow of colors encompassed by such a light sour
representing particular wavelengths of light that are
this deficiency by adding all tones of red. That’s why
Alpha may provide less than satisfactory results wit
If you take many photographs under a particular k
light, you might want to investigate specialized fluo
available from camera stores, or learn how to adjust
editor. However, you might also get acceptable resu
the WB list. Try that first.
The setting for Flash provides a color temperature
none of the presets fit your lighting conditions, and
to set the white balance adequately, you have two ot
perature option, or setting a custom white balance.
Setting White Balance by Color T

If you want to set your white balance by color temp
ting it anywhere from 2,500K (resulting in bluish im
dish images). Of course, if you have instrumentatio
you a precise reading of the color temperature of yo
be your best bet. Even if you don’t have that informa
with this setting, especially if you are trying to achi
along the spectrum from blue to red. To use this set
balance menu and use the multi-selector or the rea
numerical color temperature scale.
There’s also a suboption to this setting called Color
of CC (Color Compensation) filters that are used t
lighting when shooting with film. These filter value
the far left of the scale to M9 (M is for magenta) a
option, the color filter value you set takes effect in c
ature you have set. In other words, both of these sett
precise control over the degree of color correction y
Setting a Custom White Balance

The final choice on the white balance selection scre
use specific white balances you’ve captured by shoo
era. Setting a custom white balance expressly for th
the most accurate way of getting the right color bala
otography
llumination that has a severe deficit

ed. If you looked at the spectrum or
rce, it would have black bands in it,
e absent. You can’t compensate for
the fluorescent setting of your Sony
th some kinds of fluorescent bulbs.
kind of non-compatible fluorescent
orescent light filters for your lenses,
t for various sources in your image
ults using the fluorescent choice on
of about 6,500K. If you find that

d the Automatic setting is not able
ther options—using the Color tem-
Temperature
perature, you have the option of set-
mages) to 9,900K (resulting in red-
on or reliable information that gives
our lighting, this option is likely to
ation, you may want to experiment
ieve creative effects with color casts
tting, just highlight it on the White
ar control dial to scroll through the
filter, which corresponds to the use

to compensate for various types of
es range from G9 (G is for green) at
at the far right. When you use this
conjunction with the color temper-
tings work together to give you very
you are using.
een is Custom, which allows you to

oting a white surface with the cam-
he scene you want to shoot may be
ance.
Chap
It’s easy to do with the Sony Alpha

1. Press the WB button, or press
Quick Navi screen.
2. Use the up/down motion of the
down the list of white balance o
the multi-selector to the right
ing over to the “business” side
3. Scroll to the right again until t
4. Press the multi-selector’s center
Use spot metering area. Press sh
5. Point the camera at a white sur
area.
6. Press the shutter release. The c
was calculated appears on the L
7. Scroll to select either register 1,
to confirm the selection and re
The Alpha A850 will retain the cu
process to replace the setting with a
setting by scrolling down to Custom
ister 1, 2, or 3, and pressing the mu
Image Processing
As I outlined in Chapter 3, the So
tomizing the rendition of your imag
D-Range Optimizer and DRO), or
sharpness in the Creative Style me
button with the Alpha set to any on
D-Range Optimizer
This innovative tool helps you adju
as they are taken. With the Alpha D
and powerful implementation of D
unlike DRO in older Sony models,
images, although that is the case onl
do not alter RAW files. (To apply d
these files, use the bundled Image D
when you upload the images to you
DSLR-A850. Just follow these steps:

the Fn button and navigate to the WB item on the
e multi-selector or spin the front control dial to scroll

options until the Custom entry is highlighted. Press
or spin the rear control dial to move the highlight-
of the menu.
the word “SET” appears, next to the Custom icon.
r button. A message will appear on the LCD: “SET.
hutter to calibrate.”
rface that is large enough to fill the center metering
color temperature of the custom white balance that

LCD, along with the message, “Select register.”
, 2, or 3, and press the multi-selector’s center button
eturn to the recording information display.
ustom setting you just captured until you repeat the
a new one. Thereafter, you can activate this custom
m in the White balance menu, scrolling to select reg-
ulti-selector’s center button to confirm your choice.
ony Alpha DSLR-A850 offers several ways of cus-

ges. You can use the Dynamic Range Optimizer (aka,
r specify certain changes to contrast, saturation, and
enu. The functions are available by pressing the Fn
ne of its shooting modes: Auto, P, A, S, or M.
ust the relative brightness range of your JPEG images

DSLR-A850, Sony has provided a more sophisticated
DRO than it had in earlier cameras. For one thing,
, the A850’s DRO does have an effect on your RAW
ly when DRO is set to Standard. The higher settings
dynamic range effects beyond the Standard level to
Data Converter SR program described in Chapter 8
ur computer.)
The other major improvement in the A850’s DRO

levels of settings, which give you more control over w
be applied to your images. The DRO in the A85
Advanced settings, which cause the camera to analy
appears to be called for, as described below. With the
the ability to choose from five specific levels of DRO
these levels regardless of whether the camera “thinks
The DRO feature, available by pressing the Fn
Optimizer from the Quick Navi screen, has eight s
and Levels 1-5, giving you results like those illustra
work as follows:
■ Off. No optimization. You’re on your own. Bu
RAW+JPEG, you can apply DRO effects to yo
the Image Data Converter SR software, as I men
shooting subjects of normal contrast, or when
as you see it, without modification by the came
Figure 5.28 DRO off (left), D-R Standard (middle), and D

optimization.
otography
O capability is that it has additional

when and to what extent DRO will
50 still includes the Standard and
yze the image and apply DRO if it
e A850, though, you now also have
O processing, and apply any one of
s” it is needed.
n button and choosing D-Range
settings: Off, Standard, Advanced,
ated in Figure 5.28. These options
ut if you have the foresight to shoot

our image when converting it with
ntioned earlier. Use this setting when
you want to capture an image just
era.
D-R+ (right), provide progressively more dynamic range

Chap
■ D-R (Standard). In this mode

is a great deal of contrast betwe
reduces the contrast of the ent
the sun, or have a scene with br
is, more or less, an automatic co
setting that has an effect on RA
■ D-R+ (Advanced Auto). In th
at various small areas to exami
modifications to each section t
tones with detail.
■ D-R+ (Advanced Levels 1-5).
the image to determine how m
photographer, have complete co
Sony calls “weak” DRO, the im
you dial in Level 5, which Sony
ing of shadow areas.
While DRO can rob your image of
may prefer the results you would h
line is that you should definitely exp
uations to see when and how it can
provides DRO bracketing, using eit
range (1, 3, and 5). You may be surp
cessing can be.
Using Creative Styles

This option, found on the Quick N
five parameters: contrast, saturatio
combinations are Standard, Vivid,
Sunset, Night view, Autumn, B/W
Chapter 3, you can save any six of t
able on the Quick Navi menu. Th
them a part of your everyday toolki
on RAW or cRAW images, even th
those formats. The images on the c
RAW files will not.) Also, don’t be
era’s other image processing option
feeling especially creative, you migh
achieve interesting effects with unu
e, the Alpha examines your photograph, and if there

een light and dark areas, the digital image processor
tire image. Use this option if you are shooting into
right/dark areas scattered throughout. This function
ontrast control. As noted above, this is the only DRO
AW images.
his mode, the Alpha dives into your image, looking
ine the contrast of highlights and shadows, making
to produce the best combination of brightness and
. With these selections, the camera does not analyze

much DRO processing to apply; rather, you, as the
ontrol over that decision. If you dial in Level 1, which
mage will have its shadows lightened somewhat. If
y calls “strong,” the result will be aggressive lighten-
f some detail when it performs its “magic,” and you

have gotten using your original settings, the bottom
plore its use, and experiment with it in different sit-
n improve your images. Don’t forget that the A850
ther a narrow range of levels (1, 2, and 3) or a broad
prised when you find how useful this in-camera pro-
Navi menu, gives you 13 different combinations of

on, sharpness, brightness, and zone. The 13 preset
, Neutral, Clear, Deep, Light, Portrait, Landscape,
W (black-and-white), and Sepia. As I explained in
these styles to the six numbered “slots” that are avail-
hese styles are useful enough that you should make
it when shooting JPEG images. (They have no effect
hough you can still choose them when shooting in
camera’s display will show the effects, but the actual
afraid to combine any of these styles with the cam-
ns, such as Dynamic Range Optimization. If you’re
ht even mix in some adjustments of white balance to
usual color casts.
But that’s not all—that is, there are even more opti
ing with Creative Styles, you can adjust the five pa
options to fine-tune that particular rendition. First,
■ Standard. This is, as you might expect, your de
mise of sharpness, color saturation, and contrast
have excellent colors, a broad range of tonal va
avoids the “oversharpened” look that some digi
■ Vivid. If you want more punch in your images,
trast that makes those colors stand out, and mo
you. It’s good for flowers, seaside photos, any pic
on overcast days where a punchier image can re
■ Neutral. With this setting, all colors are somew
saturation and contrast. This can be a good setti
processing of the images on your computer.
■ Clear. This preset selection is similar to Vivid,
and contrast.
■ Deep. Choose this setting for decreased brigh
darker cast.
■ Light. This option provides increased brightne
■ Portrait. Unless you’re shooting a clown, you do
portraits. Nor do you need lots of contrast to e
This setting provides realistic, muted skin tones
subjects.
■ Landscape. As with the Vivid setting, this optio
give you rich scenery and purple mountain maje
ter is located far enough from your camera that
problem. There’s extra sharpness, too, to give
shooting Fall colors.
■ Sunset. This preset accentuates the red tones fo
■ Night view. This setting boosts the contrast to p
If your available darkness shots are coming out a
a try.
■ Autumn. This setting emphasizes the reds and
otography
ions to consider here. When work-

arameters for each of the 13 preset
look at the “stock” Creative Styles:
efault setting, with a good compro-
t. Choose this, and your photos will
alues, and standard sharpness that
ital pictures acquire.
with richer colors, heightened con-
oderate sharpness, this setting is for
cture with expanses of blue sky, and
elieve the dullness.
what subdued through a lowering of
ing to use when you will do further
but with somewhat more richness
htness to give images a somewhat
ess to give images a lighter feeling.

on’t want overly vivid colors in your
emphasize facial flaws and defects.
s, and a softer look that flatters your
on boosts saturation and contrast to

esties, even when your subject mat-
t distant haze might otherwise be a
e you added crispness when you’re
ound in sunrise and sunset pictures.

produce a more realistic night scene.
a little blah, give this Creative Style
yellows of autumn leaves.

Chap
■ B/W. If you’re shooting black-a

allow you to change the saturati
to achieve the black-and-white
with the other styles.
■ Sepia. This option removes co
back in a light-brown monoto
saturation with this style.
To customize any of these settings, h
and press the multi-selector to the
“business” side again. Then, continu
to right) contrast, saturation, sharp
want to modify highlighted, use th
front control dial to choose +/–3 in
only choose up to +2 or down to –1
ton of the multi-selector to confirm
Figure 5.29
You can cus-
tomize the
sharpness, con-
trast, and color
saturation of
any of the
Creative Styles.
and-white photos in the camera, this setting does not

ion, because all saturation has been removed in order
e effect. You can adjust the other four parameters as
olors in the same way as black-and-white, but adds

one. As with black-and-white, you cannot adjust
highlight the style you want to change on the menu,

e right or spin the rear control to move over to the
ue to use either of those controls to choose from (left
pness, brightness, and zone. With the parameter you
he up/down motion of the multi-selector or spin the
ncrements for the first four values; for zone you can
1 increment. (See Figure 5.29.) Press the center but-
m your changes and exit the menu screen.
Here is a summary of how the parameters you can

your images:
■ Sharpness. Increases or decreases the contrast o
making the photo appear more or less sharp, dep
0 (no sharpening), +3 (extra sharpening), to –3
ing sharpness also increases the overall contrast
this parameter in conjunction with the contrast
■ Contrast. Compresses the range of tones in an
+3) or expands the range of tones (from 0 to –3
trast images tend to lose detail in both shadow
trast images retain the detail but appear more fl
■ Color saturation. You can adjust the richness o
to –3) to high saturation (0 to +3). Lower satu
can be more realistic for certain kinds of subjec
tion produces a more vibrant appearance, but c
ried too far. Boost your saturation if you wan
pictures taken on overcast days. As I noted abo
for the B/W or Sepia Creative Styles.
■ Brightness. This adjustment changes the overall
ting of –3 units to as high as +3. Unlike the co
boosts or reduces dark and light colors to the sa
darker or lighter image.
■ Zone. As noted above, this setting can be adju
unit. The zone adjustment is intended to help
lights or loss of detail in the shadows. When yo
ber (1 or 2), it causes the image to be underexp
the highlights, while still preserving detail in th
only negative value (–1), it boosts the detail in t
the highlights too bright. When you adjust zon
contrast setting becomes unavailable and canno
adjust zone at all if contrast has been adjusted. (
uation, the camera will return contrast to zero.)
otography
n change with Creative Styles affect
of the edge outlines in your image,

pending on whether you’ve selected
(softening). Remember that boost-
t of an image, so you’ll want to use
t parameter with caution.
image (increase contrast from 0 to
3) to decrease contrast. Higher con-
ws and highlights, while lower con-
lat and have less snap.
of the color from low saturation (0
uration produces a muted look that
cts, such as humans. Higher satura-
can be garish and unrealistic if car-
nt a vivid image, or to brighten up
ove, this setting cannot be changed
l brightness of the image from a set-

ontrast adjustment, this adjustment
ame extent, resulting in a uniformly
usted only up to +2 or down to –1

you avoid having blown-out high-
ou set this value to a positive num-
posed somewhat, to avoid blowing
he shadows. When you set it to its
the shadows while avoiding making
ne to any value other than zero, the
ot be adjusted; similarly, you cannot
(If you try to adjust zone in that sit-
)
Workin
Although it’s sometimes alarming f
long time, the recent tendency for l
some big dividends, most notably i
tively new Sony Alpha DSLR came
In my youth, I managed a camera s
different models, and so used both
ing back to the Konica Autoreflex T
metering) and the legendary Mino
era, the two companies joined force
ogy eventually taken over by Sony
Alpha models, like the company’s fi
of hundreds of lenses from the sore
Thanks to the head start provided by
patible lenses from third parties), yo
broad range of high-quality lenses, su
enthusiasts to advanced amateur and
assortment of high-quality lenses av
Sony Alpha DSLR-A850 that make
current and older lenses introduced
late 1980s can be used to give you a w
closer, shoot under lower light cond
critical work. Other than the sensor
important component in determini
This chapter explains how to selec
want to do.
6
ng with Lenses
for those of us who have been taking pictures a very
larger companies to absorb smaller vendors has paid
in the huge selection of lenses available for the rela-
era line.
store for a while, and had access to a broad range of
Konica and Minolta cameras for many years—dat-
T (the first SLR with autoexposure/through-the-lens
olta SRT-101. Only a few years into the digital SLR
es as Konica Minolta, and in turn saw their technol-
y in 2006. Bye-bye Konica Minolta 7D, hello Sony
irst entry, the Alpha DSLR-A100, each with a legacy
ely missed Minolta lineup.
y Konica and Minolta (and boosted by Minolta-com-
our Sony Alpha A850 camera can be used with a very
uitable for a user base that extends from novice photo
d professional photographers. It’s this mind-bending
vailable to enhance the capabilities of cameras like the
e the still-new camera line so attractive. Hundreds of
by Minolta, Sony, and third-party vendors since the
wider view, bring distant subjects closer, let you focus
ditions, or provide a more detailed, sharper image for
r itself, the lens you choose for your dSLR is the most
ing image quality and perspective of your images.
ct the best lenses for the kinds of photography you
Don’t Forget the Crop Factor

From time to time you’ve heard the term crop factor,
term lens multiplier factor. Both are misleading and
the same phenomenon: the fact that cameras like so
affordable digital SLRs), such as the Alpha DSLR-A
smaller and narrower than that produced by certain
when fitted with exactly the same lens. That’s becau
era, while the A550 uses an APS-C, or “cropped” si
Figure 6.1 quite clearly shows the phenomenon at w
1X, shows the field of view you might expect with a
A850, or a 35mm film camera, like the 1985 Minolt
to be the first SLR to feature both autofocus and mot
for granted in the digital SLR age). The rectangle m
you’d get with that 50mm lens installed on a Sony
other entry-level or mid-level Sony models with an
the illustration that the A850’s 1X rendition provi
while the other two are, in comparison, cropped.
The cropping effect is produced because the sensors
than the sensors of a full-frame camera like the A85
sensor that’s the size of the standard 35mm film fram
Sony Alpha models have a sensor that does not mea
otography
, and you’ve probably also heard the

d inaccurate terms used to describe
ome Sony models (and most other
A550, provide a field of view that’s
n other models, such as your A850,
use the A850 is a “full-frame” cam-
ize sensor.
work. The outer rectangle, marked
50mm lens mounted on the Alpha
ta Maxxum 7000 (which happened
otorized advance, something we take
marked 1.5X shows the field of view
y Alpha A550/A500, or any of the
APS-C sensor. It’s easy to see from
ides a wider, more expansive view,
s of the APS-C cameras are smaller

50. Your “full-frame” camera has a
me, 24mm × 36mm. Non-full-frame
asure 24mm × 36mm; instead, they
Figure 6.1
Sony offers dig-
ital SLRs with
full-frame (1X)
crops, as well as
1.5X crops.
spec out at roughly 24 × 16mm (th
each direction among the various A
full-frame sensor, as shown by the y
ative field of view by dividing the fo
mounted on a Sony Alpha A550 ha
frame camera like the A850. We hu
our heads more easily than division
culated using the reciprocal of .667—
100 × 1.5=150.)
This translation is generally useful
eras (usually of the film variety) and
a digital camera. I strongly prefer cr
multiplied; a 100mm lens doesn’t “b
aperture remain the same. (I’ll expla
field of view is cropped. But the ter
24 × 36mm frame is “full” and an
photographers who point out that
sensors (like the Mamiya 645ZD o
their reckoning, the “half-size” sens
DSLR-A550 are “cropped.”
If you’re accustomed to using full-f
the crop factor “multiplier” to transl
alent, even though, as I said, nothin
Your DSLR-A850’s full-frame 24
designed for full-frame imaging wit
fits, as we shall see), Sony Alpha cam
sor, such as the Alpha A550. Sony o
its APS-C cameras, which are given
a fly in your lens choice ointment.
Sony DT lenses designed for the AP
images on your A850 (or any othe
image circle produced by a DT lens
least at the widest focal length setti
particular APS-C lens at 35mm. It
lenses exhibit darkening, or vignetti
there is severe darkening at the corn
60mm setting, however (Figure 6.3
lens is almost acceptable for full-fra
at a particular focal length, this lens
raphy; the image quality/sharpness a
Chapter 6 ■ Working with Lenses 189
here is a difference of a few tenths of a millimeter in

Alpha models), or about 66 percent of the area of a
yellow boxes in the figure. You can calculate the rel-
ocal length of the lens by .667. Thus, a 100mm lens
as the same field of view as a 150mm lens on a full-
umans tend to perform multiplication operations in
n, so such field of view comparisons are usually cal-
—1.5—so we can multiply instead. (100 / .667=150;
only if you’re accustomed to using full-frame cam-

d want to know how a familiar lens will perform on
rop factor to lens multiplier, because nothing is being
become” a 150mm lens—the depth-of-field and lens
ain more about these later in this chapter.) Only the
rm crop factor isn’t much better, as it implies that the
nything else is “less.” I get e-mails all the time from
they own full-frame cameras with 36mm × 48mm
or Hasselblad H3D-39 medium format digitals). By
sors found in full-frame cameras like the Sony Alpha
frame film cameras, you might find it helpful to use

late a lens’s real focal length into the full-frame equiv-
ng is actually being multiplied.
4-megapixel sensor captures pictures using lenses
thout that pesky “crop factor” that plagues (or bene-
meras that use a smaller-than-full-frame APS-C sen-
offers both full-frame lenses and lenses intended for
n the DT designation in their name. That introduces
PS-C format may or may not be usable for full-frame

er Sony full-frame model, such as the A900). The
s is generally smaller than the area of a full frame, at
ing. Figure 6.2 shows the approximate coverage of a
covers the inner ASP-C rectangle (just barely; some
ing in the corners of the frame for this reason). But
ners of the full frame. Zoom the same lens in to the
3), and the image coverage circle enlarges so that the
ame use. Of course, even if there were no vignetting
s might not be a great choice for full-frame photog-
at the very edges of the circle is likely to be deficient.
Figure 6.2 At a wide-angle setting, the image circle of

a typical DT lens won’t cover the full frame.
If you do own a selection of DT lenses because you

or because you intend to use such a camera side-by-
eral alternatives:
■ Give it a go. Try them out on your A850 to see
ious focal lengths.
■ Keep as a backup lens. If you own a Sony Alph
mat, you can still use your old lenses on that
around lenses that you can’t use on all your cam
if you must sell those lenses for hundreds of do
■ Crop, crop, crop. Because your A850 has 24 m
ahead and shoot with your DT lenses. In most
DT lens is attached and crop to the APS-C for
specify APS-C format in Setup menu 4, as dis
photo will still have about 10 megapixels of res
that 10 MP was considered pretty good, so you
cropped photos.
■ Dump and replace. Sony has shown with its r
won’t be dumping the APS-C format anytim
retained a lot of their value on the used market.
sell them, you might have to endure little more
otography
Figure 6.3 Zoom in, and the image circle enlarges,

making the lens acceptable for full-frame coverage.
u upgraded from an APS-C camera

-side with your A850, you have sev-
e if they cover the full frame at var-
ha backup camera in the APS-C for-

camera. It may be a pain carrying
meras, but the pain will be less than
ollars less than you paid for them.
megapixels of resolution, you can go
t cases, the A850 will sense when a
rmat automatically. If not, you can
scussed in Chapter 3. The cropped
solution. It hasn’t been so long ago
u might be entirely happy with your
recent camera introductions that it

me soon. So, your old lenses have
. Instead of taking a bath when you
e than a splash in the face.
Do You Need a “Croppe
For many photographers, the choic
business. Wildlife and sports pho
boosted 1.5X when using one of the
scape and architectural photograph
field of view. There’s a lot of debate
a camera with a “cropped” sensor, v
go like this:
■ “Free” 1.5X teleconverter. A
transform any telephoto lens y
sports, wildlife photography, an
your f/stop remains the same (t
lens). Some discount this advan
can be had by taking a full-fra
While that is strictly true, it do
As I noted earlier, your A850’s 2
cropped to APS-C size. Your no
a much higher density of pixels
ity will be better. A camera like
does provide a “free” 1.5X telec
■ Lack of wide-angle perspectiv
angle lenses, too, so your 20mm
wide-angle, and a 35mm focal
a “normal” lens, which has a “
telephoto.
■ Mixed body mix-up. The A8
ignore the focal-length mix-up
to adjust to the different fields
given lens from one camera and
of view changes. That 16-35m
on an A850 , but functions m
Alpha A550. It’s possible to bec
some photographers put it to
their APS-C camera and their w
you’ve never owned both a full
the possible confusion.
ed” Camera, Too?

ce of a full-frame or cropped-sensor camera is serious
otographers appreciate having their longer lenses
e Sony APS-C models (as I discuss next), while land-
hers need wide-angle optics that provide a truly wide
e over the “advantages” and “disadvantages” of using
versus one with a “full-frame” sensor. The arguments
cropped sensor model like the A550, can magically

you have into a longer lens, which can be useful for
nd other endeavors that benefit from more reach. Yet,
that is, a 300mm f/4 becomes a very fast 450mm f/4
ntage, pointing out that the exact same field of view
ame image and trimming it to the 1.5X equivalent.
oesn’t take into account a factor called pixel density.
24-megapixel image yields only 10 megapixels when
on-full-frame Alpha may have 12 to 14 megapixels,
within that 1.5X cropped frame. So, the image qual-
the Alpha A380, with its 14-megapixel sensor, really
converter.
ve. Of course, the 1.5X “crop” factor applies to wide-
m ultrawide lens becomes a hum-drum 30mm near-
length is transformed into what photographers call
“tweener” focal length that’s neither wide angle nor
850 owners who also have an APS-C camera can’t

p factor. If you own both formats, it’s vexing to have
s of view that the cameras provide. If you remove a
d put it on the other, the effective focal length/field
mm f/2.8 zoom works as an ultrawide to wide angle
more as a moderate wide-angle to normal lens on an
come accustomed to this FOV shake-up and, indeed,
work by mounting their longest telephoto lens on
wide-angle lenses on their full-frame camera. But, if
l-frame and APS-C camera, you should be aware of
Your First Lenses

The Sony Alpha is frequently purchased with a len
alone by those who already have a selection of suita
point, you’ll need to make a decision about what len
of lenses you need to fill out your complement of S
through the decision making process.
When deciding on a lens, there are several factors yo
■ Cost. If you stretched your budget to buy the A
cost of your first lenses fairly low. Fortunately,
that will add only a few hundred dollars to the
at the same time. Others cost a little more, but h
mine with the SAL50F14, 50mm f/1.4 lens be
indoor sports and available light shooting. (See
■ Zoom range. If you have only a few lenses, you
provide as much flexibility as possible. An SA
zoom, which would take you from wide angle
good choice. The exquisite SAL-2470Z, a Zeiss
vides a little less range, but more speed and out
otography
ns, but it can be bought as a body

able full-frame lenses. But at some
ns to buy, or decide what other kind
Sony optics. This section helps you
ou’ll want to consider:

A850, you might want to keep the
there are excellent lenses available
e price of your camera if purchased
have very desirable features. I bought
ecause I wanted a very fast lens for
Figure 6.4.)
u’ll want a fairly long zoom range to
AL-24105, a 24-105mm f/3.5-4.5
e to short telephoto, might make a
Sonar T* (“T-star”) f/2.8 lens, pro-
tstanding image quality.
Figure 6.4
This 50mm
f/1.4 lens is
excellent for
available light
shooting.
■ Adequate maximum apertur
shooting under fairly low light
aperture when the lens is zoom
better than an f/5.6 maximum
you can often live with it.
■ Image quality. Your starter le
one of the primary factors that
SAL-24105 I mentioned earlie
imize distortion and chromatic
applications.
■ Size matters. A good walking-
You’ll find fairly compact zoom
SAL-2875 weighs 50 percent m
weigh two pounds or more.
■ Fast/close focusing. Your first
focusing (to 12 inches or close
macro photography.
You can find comparisons of the len
ommendations, but more informat
Buy Now, Expand Later

The Alpha is commonly available w
as a “walk-around” lens (one you ke
you’re out and about without your c
is actually quite amazing when you
limited to about $100-$400 for you
is shown in Figure 6.4. Sony’s best-
■ Sony SAL-24105 24-105mm
at about $500, but, if you can
shoot indoor or outdoor sports
the equivalent of a moderate w
pact lens.
■ Sony SAL-2470Z Carl Zeiss V
have $1,600 to spare, this lens
speed. It’s great for sports, land
re. You’ll want an f/stop of at least f/3.5 to f/4 for

conditions. The thing to watch for is the maximum
med to its telephoto end. You may end up with no
m aperture if you buy a kit lens. That’s not great, but
ens should have good image quality, because that’s

t will be used to judge your photos. Lenses like the
er (about $470) include aspheric elements that min-
c aberration, and it’s plenty sharp enough for most
-around lens is compact in size and light in weight.

ms (like the SAL-24105) at around 14 ounces. The
more at 20 ounces, but other similar zoom lenses can
t lens should have a speedy autofocus system. Close

er) will let you use your basic lens for some types of
nses discussed in the next section. I’ll provide my rec-

tion is always helpful.
r
with several good, basic lenses that can serve you well
eep on the camera most of the time, especially when
camera bag). The number of options available to you
u consider third-party lenses, even if your budget is
ur first lens. One useful lens Sony offers for the Alpha
-bet first lenses are as follows:
m f/3.5-4.5 Zoom lens. This lens is not inexpensive
find one, may be a smarter choice if you intend to
s. It’s faster at its longest focal length, and provides
wide angle to short telephoto 5X zoom in one com-
Vario-Sonnar T* 24-70mm f/2.8 Zoom lens. If you

s is truly wonderful in terms of image quality and
dscapes, and portraits.
■ Sony SAL-2875 28-75mm f/2.8 Zoom lens. H

lens, this one weighs a third less, too, at 20 oun
zoom.
■ Sony SAL75300 75-300mm f/4.5-5.6 Telepho
gain, and provides a long reach, out to 300mm
just 18 ounces). It focuses as close as 5 feet at 3
skittish creatures (and humans) from a non-thr
Your Second (and Third…) Len

There are really only two advantages to owning jus
ativity. Keeping one set of optics mounted on your
especially imaginative in your approach to your subje
a single camera body and a 35mm f/2 lens. The exp
because I had to use a variety of techniques to allow t
available light photos, action, close-ups, portraits,
makes an excellent 35mm lens (actually, it’s the SAL
lens). At almost $1,400, this lens is expensive—and
my Europe experiment today.
Of course, it’s more likely that your “single” lens is a
many lenses in one, taking you from, say, 16mm to
a rapid twist of the zoom ring. You’ll still find some
to a single zoom lens’s focal lengths.
The second advantage of the unilens camera is only
the introduction of the sensor cleaning technology
chances of dust and dirt getting inside your Alpha an
(but not eliminated entirely). Although I’ve known so
the number of lens changes they made for this ver
lenses you work with is not a productive or reward
Alpha’s automatic sensor cleaning feature has made
cant than it was in the past.
It’s more likely that you’ll succumb to the malady kn
as an incurable disease marked by a significant ye
sharper, anything-er optics for your camera. (And, it
you significant yen—or dollars, or whatever currenc
tions, sufferers find themselves with lenses that have
bilities, because one or the other offers a slight marg
specific tasks. When you find yourself already lusting
had a chance to put your latest purchase to the test,
the terminal phase.
otography
Half the price of the 24-70mm Zeiss

nces, and makes a great all-around
oto Zoom lens. This is a $250 bar-

m. This is a compact lens (weighing
300mm, which allows you to shoot
reatening distance.
ns
st a single lens. One of them is cre-
Alpha all the time forces you to be
ects. I once visited Europe with only
perience was actually quite exciting,
that one lens to serve for landscapes,
, and other kinds of images. Sony
L-35F14G 35mm f/1.4 Wide-Angle
d very sharp. It would be perfect for
actually a zoom, which is, in truth,

o 35mm (or some other range) with
e creative challenges when you stick
y a marginal technical benefit since

y. If you don’t exchange lenses, the
nd settling on the sensor are reduced
ome photographers who minimized
ry reason, reducing the number of
ding approach for most of us. The
this “advantage” much less signifi-
nown as Lens Lust, which is defined

en for newer, better, longer, faster,
must be noted, this disease can cost
cy you use.) In its worst manifesta-
e overlapping zoom ranges or capa-
gin in performance or suitability for
g after a new lens before you’ve really
you’ll know the disease has reached
Sony’s Alpha-bet Soup
Here’s a quick translation of some o
Sony lenses.
■ ADI. Advanced Distance Integ
to the camera to be used with
the-lens (TTL) metering.
■ DT. This designation is applie
mat cameras only. They produc
sensors, and may not be useable
focal lengths.
■ ED. These lenses feature extr
reduces chromatic aberration o
■ IF. Internal focus lenses do no
jects that are closer or farther aw
rel to accomplish focusing.
■ SSM. Supersonic wave motor, a
autofocus operation.
■ SAM (Smooth Autofocus mo
entry-level Sony lenses.
■ G. Lenses with the G designati
designed for professional photo
chromatic aberration, and quiet
motor and internal focusing.
■ T* (pronounced T-Star). This
ing developed by Carl Zeiss as a
and reduce contrast-robbing fla
What Lenses Can Do fo

A saner approach to expanding yo
options can do for you and then ch
ative opportunities. Here’s a gener
adding a lens to your repertoire.
■ Wider perspective. Your 24-1
erate wide-angle shots. Now yo
take a step backwards to take i
p
of the nomenclature used when referring to various
gration allows the lens to communicate distance data

the camera’s flash unit for more advanced through-
ed to lenses that are designed for Sony’s APS-C-for-

ce an image circle designed to cover APS-C size image
e on full-frame cameras like the A850 at all (or most)
ra-low dispersion glass, a higher quality glass that

or “color fringing.”
ot change their physical length as you focus on sub-
way. Instead, lens elements move inside the lens bar-
a piezoelectric motor that provides smooth and silent
otor). An in-lens focusing motor offered on some
ion include Sony’s most costly large-aperture lenses

ographers. They feature ED glass, which minimizes
t, responsive focusing thanks to their supersonic wave
s designation refers to an anti-reflective optical coat-

a way to increase the efficiency of light transmission
are caused by internal reflections.
or You
our lens collection is to consider what each of your
hoose the type of lens that will really boost your cre-
ral guide to the sort of capabilities you can gain by
105mm f/3.5-4.5 lens has served you well for mod-

ou find your back is up against a wall and you can’t
in more subject matter. Perhaps you’re standing on
the rim of the Grand Canyon, and you want to

ing view as you can. You might find yourself
school basketball game and want an interesting
tortion tossed in the mix. There’s a lens out the
you need, such as the SAL-1635Z lens I menti
available Sony non-zoom wide-angle lenses. Yo
abundant, but they are there. Figure 6.5 shows th
wide-angle lens.
■ Bring objects closer. A long lens brings distan
ter control over depth-of-field, and avoids the pe
lenses provide. They compress the apparent dista
In the telephoto realm, Sony is right in the ballg
zooms I mentioned earlier to some super high-
70-200mm f/2.8 G-series telephoto zoom. (You’
6.6 and 6.7 were taken from the same position
and 500mm focal length, respectively.
■ Bring your camera closer. Sony has two excel
SAL-50M28 50mm f/2.8 Macro lens, and the S
lens. Paying $479 for the 50mm lens, or $679 fo
order for someone who wants to shoot close-up
away from a subject to provide more flexibility
avoid spooking small wildlife.
■ Look sharp. Many lenses, particularly the highe
their sharpness and overall image quality. While
to be plenty sharp for most applications, the ve
their entire field of view (which means no fuz
range of focal lengths (in the case of zooms), an
types of distortion. That, along with a consta
200mm f/2.8 lens I mentioned earlier sells for $
■ More speed. Your basic telephoto lens might
sharpness for sports photography, but the ma
night baseball or football games, or, even, any
weather is cloudy or you need to use some un
1/4,000th second. You might be happier with t
Sonnar T* 135mm f/1.8 telephoto lens (if mo
But there are lower cost fast lens options, such
f/1.4 lens ($350), which might be suitable for i
volleyball.
otography
o take in as much of the breathtak-

just behind the baseline at a high
g shot with a little perspective dis-
ere that will provide you with what
ioned earlier, or any of the array of
our extra-wide choices may not be
he perspective you get from an ultra-
nt subjects closer to you, offers bet-

erspective distortion that wide-angle
ance between objects in your frame.
game, with lenses like the telephoto
-end models like the SAL-70200G
’ll pay $1,800 for this baby.) Figures
n as Figure 6.5, but with a 135mm
llent full-frame close-up lenses, the

SAL-100M28 100mm f/2.8 Macro
or the 100mm version is not out of
p subjects but needs to stay farther
in lighting and enough distance to
er-priced Sony optics, are prized for

e your run-of-the-mill lens is likely
ery best optics are even better over
zzy corners), are sharper at a wider
nd have better correction for various
ant f/2.8 aperture, is why the 70-
$1,800.
have the perfect focal length and
aximum aperture won’t cut it for
y sports shooting in daylight if the
ngodly fast shutter speed, such as
the Sony SAL-135F18Z Carl Zeiss
oney is no object: it costs $1,400).
h as my favored SAL-50F14 50mm
indoor sports such as basketball or
Figure 6.5
An ultrawide-
angle lens
provided this
view of Prague
Castle in the
Czech
Republic.
Figure 6.6
This photo,
taken from
roughly the
same distance
shows the view
using a short
telephoto lens.
Figure 6.7
A longer tele-
photo lens
captured this
closer view
from approxi-
mately the
same shooting
position.
Zoom or Prime?
Zoom lenses have changed the way serious photogra
sons that I own 12 SLR film bodies is that in ancie
a different fixed focal length prime lens on various c
or three cameras around your neck (or tucked in a
take a long shot or an intimate close-up or wide-angl
out the need to switch lenses. It made sense (at the ti
ies (two to use, one in the shop, one in transit, and
the time had a limited zoom range, were heavy, and n
tried to wield one of those monsters handheld).
That’s all changed today. Lenses like the sharp Sony l
ing the top-of-the-line Carl Zeiss optics, have impre
light in weight. The best zooms might seem expensi
costly than the six or so lenses replaced. When selecti
there are several considerations to ponder. Here’s a c
tors. I already mentioned image quality and maximum
take on additional meaning when comparing zoom
■ Logistics. As prime lenses offer just a single foca
to encompass the full range offered by a single z
slots in your camera bag, and extra weight to ca
to carry an extra prime lens or two in order to g
lens offers.
■ Image quality. Prime lenses usually produce
length than even the most sophisticated zoom
Zoom lenses, with their shifting elements and f/s
tion to zoom position, are in general more comp
lenses. That’s not to say that the very best prime
However, the exotic designs, aspheric elements,
improving the quality of the lens, rather than w
for problems caused by the zoom process itself.
■ Maximum aperture. Because of the same desig
have smaller maximum apertures than prime len
have a lens opening that grows effectively smaller
tion. The difference in lens speed verges on th
For example, the inexpensive Sony 70-300mm
when zoomed all the way out, while prime len
have f/4 or faster maximum apertures. Indeed, th
and if you require speed, a fixed focal length len
6.8 shows an image taken with an 85mm f/1.4
otography
aphers take pictures. One of the rea-

ent times it was common to mount
cameras and take pictures with two
a camera case) so you’d be ready to
le view on a moment’s notice, with-
ime) to have a half dozen or so bod-
a couple backups). Zoom lenses of
not very sharp (especially when you
lenses I’ve already described, includ-

essive zoom ranges, and (some) are
ive, but they are actually much less
ing between zoom and prime lenses,
checklist of the most important fac-
um aperture earlier, but those aspects
ms and primes.
al length, you’ll need more of them
zoom. More lenses mean additional
arry. Even so, you might be willing
gain the speed or image quality that
better image quality at their focal

m lenses at the same magnification.
stops that can vary from zoom posi-
plex to design than fixed focal length
e lenses can’t be complicated as well.
and other tweaks can be applied to
wasting a lot of it on compensating
gn constraints, zoom lenses usually

nses, and the most affordable zooms
r as you zoom to the telephoto posi-
he ridiculous at some focal lengths.
lens gives you a 300mm f/5.6 lens
nses in that focal length commonly
he fastest Sony lenses are all primes,
ns is what you should rely on. Figure
telephoto lens.
■ Speed. Using prime lenses take
to remove your current lens an
to do that, the more time is wa
a fixed focal length lens you’ll
subject to get the field of view
nifications and focal lengths wi
of time.
Figure 6.8
An 85mm f/1.4
lens was perfect
for this hand-
held photo.
es time and slows you down. It takes a few seconds

nd mount a new one, and the more often you need
asted. If you choose not to swap lenses, when using
still have to move closer or farther away from your
you want. A zoom lens allows you to change mag-
ith the twist of a ring and generally saves a great deal
Categories of Lenses
Lenses can be categorized by their intended purpose—
tography, and so forth—or by their focal length. Th
usually divided into three main groups: wide-angle, n
fall neatly into one of these classifications. Zooms ca
nificant number falling into the catchall wide-to-te
provides more information about focal length range
Any lens with a focal length of 10mm to 20mm is
from about 20mm to 40mm is said to be a wide-an
length roughly equivalent to the diagonal of the film
fall into the range of about 45mm to 60mm (on a f
usually fall into the 75mm and longer focal lengths
400mm and longer often are referred to as super-tele
Using Wide-Angle and Wide-Zo

To use wide-angle prime lenses and wide zooms, you
your photography. Here’s a quick summary of the th
■ More depth-of-field. Practically speaking, wid
field at a particular subject distance and apertur
important note.) You’ll find that helpful when y
a large zone, but not very useful when you’d rath
tive focus (telephoto lenses are better for that).
■ Stepping back. Wide-angle lenses have the eff
standing farther from your subject than you re
don’t want to back up, or can’t because there are
■ Wider field of view. While making your sub
above, a wide-angle lens also provides a larger f
subject in your photos.
■ More foreground. As background objects re
brought into view by a wide-angle lens. That gi
that’s closest to the camera. Photograph your
zoom setting, and the front yard probably look
(that’s why they’re called “normal” lenses). Switc
that your lawn now makes up much more of th
great when you want to emphasize that lake in
when your intended subject is located farther in
otography
—general photography, macro pho-

he range of available focal lengths is
normal, and telephoto. Prime lenses
an overlap designations, with a sig-
elephoto zoom range. This section
es, and how they are used.
s said to be an ultrawide-angle lens;
ngle lens. Normal lenses have a focal
m or sensor, in millimeters, and so
full-frame camera). Telephoto lenses
s, while those from about 300mm-
ephotos.
oom Lenses
need to understand how they affect
hings you need to know.
de-angle lenses offer more depth-of-
re. (But see the sidebar below for an
you want to maximize sharpness of
her isolate your subject using selec-
fect of making it seem that you are

eally are. They’re helpful when you
e impediments in your way.
bject seem farther away, as implied
field of view, including more of the
etreat, more of the foreground is

ives you extra emphasis on the area
home with a normal lens/normal
ks fairly conventional in your photo
ch to a wider lens and you’ll discover
he photo. So, wide-angle lenses are
n the foreground, but problematic
n the distance.
■ Super-sized subjects. The ten
the foreground, while de-emph
of size distortion that may be m
others. Shoot a bed of flowers
distorted effect of the larger blos
ber with the same lens from th
plaints about that gigantic nose
■ Perspective distortion. When
longer perpendicular to the ver
are now closer to the sensor th
away. So, buildings, flagpoles, o
ing shown in Figure 6.9). Whil
a defect in the lens) can happen
is used.
Figure 6.9
Tilting the
camera back
produces this
“falling back”
look in archi-
tectural photos.
ndency of a wide-angle lens to emphasize objects in

hasizing objects in the background, can lead to a kind
more objectionable for some types of subjects than
up close with a wide angle, and you might like the
ssoms nearer the lens. Take a photo of a family mem-
he same distance, and you’re likely to get some com-
e in the foreground.
n you tilt the camera so the plane of the sensor is no
rtical plane of your subject, some parts of the subject
han they were before, while other parts are farther
or NBA players appear to be falling backwards (build-
le this kind of apparent distortion (it’s not caused by
n with any lens, it’s most apparent when a wide angle
■ Steady cam. You’ll find that you can handhol

slower shutter speeds, without need for SteadyS
lens. The reduced magnification of the wide-
emphasize camera shake like a telephoto lens do
■ Interesting angles. Many of the factors alread
interesting angles when shooting with wide-angl
photo lens a few feet probably will have little e
tant subjects you’re shooting. The same change i
effect for the much closer subjects typically captu
zoom setting.
DOF IN DEPTH
The DOF advantage of wide-angle lenses is diminishe
believe it or not, a wide-angle image enlarged and crop
size as a telephoto shot would have the same depth-of-
photo of a friend from a fair distance, and then zoom
photo image. Then, enlarge the wide shot so your frien
wide photo will have the same depth-of-field (and will
Avoiding Potential Wide-Angle Pr

Wide-angle lenses have a few quirks that you’ll want
you can avoid falling into some common traps. He
common problems:
■ Symptom: converging lines. Unless you want
creative effect, it’s a good idea to keep horizont
architecture, and other subjects carefully aligned
the frame. That will help you avoid undesired p
helps to shoot from a slightly elevated position s
up or down.
■ Symptom: color fringes around objects. Lens
color around backlit objects, produced by chrom
forms: longitudinal/axial, in which all the colo
plane; and lateral/transverse, in which the colors
matic aberration can be reduced by stopping d
matic aberration cannot. Both can be reduced
diffraction index glass and which incorporate e
aberration of other glass in the lens. For examp
otography
ld a wide-angle lens more easily at

Shot, than you can with a telephoto
-lens or wide-zoom setting doesn’t
oes.
dy listed combine to produce more
le lenses. Raising or lowering a tele-
effect on the appearance of the dis-
in elevation can produce a dramatic
ured with a wide-angle lens or wide-
ed when you enlarge your picture;

pped to provide the same subject
-field. Try it: take a wide-angle
in to duplicate the picture in a tele-
nd is the same size in both. The
l have much less detail, too).
roblems
t to keep in mind when shooting so
ere’s a checklist of tips for avoiding
t to use wildly converging lines as a

tal and vertical lines in landscapes,
d with the sides, top, and bottom of
perspective distortion. Sometimes it
so you don’t have to tilt the camera
ses are often plagued with fringes of

matic aberration, which comes in two
ors of light don’t focus in the same
s are shifted to one side. Axial chro-
down the lens, but transverse chro-
d if you purchase lenses with low
elements that cancel the chromatic
ple, a strong positive lens made of
low-dispersion crown glass (m
with a weaker negative lens mad
■ Symptom: lines that bow outw
bow outwards, with the stron
lenses, this defect is a feature, a
desired, you’ll need to use a lens
like Sony do their best to min
often using aspherical lens elem
can also minimize barrel distor
space all around, so the edges w
of the picture.
■ Symptom: dark corners and s
A850 lacks a built-in electronic
even coverage for fairly wide le
ening, or vignetting, in the corn
Figure 6.10 Many wide-angle lenses cause lines to bow ou

this tendency is considered an interesting feature.
made of a soda-lime-silica composite) may be mated

de of high dispersion flint glass, which contains lead.
ward. Some wide-angle lenses cause straight lines to
ngest effect at the edges. In fisheye (or curvilinear)
as you can see in Figure 6.10. When distortion is not
s that has corrected barrel distortion. Manufacturers
nimize or eliminate it (producing a rectilinear lens),
ments (which are not cross-sections of a sphere). You
rtion simply by framing your photo with some extra
where the defect is most obvious can be cropped out
shadows in flash photos. Although the Sony Alpha

c flash, its add-on flash units are designed to provide
enses. If you use a wider lens, you can expect dark-
ners of the frame.
utwards towards the edges of the image; with a fisheye lens,

■ Symptom: light and dark areas when using p

polarizers work best when the camera is pointed
have the least effect when the camera is orient
know only half the story. With lenses having a
angle of view (107 to 75 degrees diagonally, o
extensive enough to cause problems. Think abo
at the proper 90-degree angle from the sun, ob
be oriented at 135 to 41 degrees, with only the
edge will have much less of a polarized effect. Th
izing filter with lenses having an actual focal len
Using Telephoto and Tele-Zoom

Telephoto lenses also can have a dramatic effect on y
cially strong in the long lens arena, with lots of choic
ranges. You should be able to find an affordable telep
photography in several different ways. Here are the m
know. In the next section, I’ll concentrate on telepho
lematic—and how to avoid those problems.
■ Selective focus. Long lenses have reduced dept
ing you to use selective focus to isolate your sub
to create shallow depth-of-field, or close it down
The flip side of the coin is that when you want
you’ll need to use a smaller f/stop to get the dep
depth-of-field of a telephoto lens can be friend
lemur photographed at an f/4 aperture with a
background and foreground foliage out of focu
■ Getting closer. Telephoto lenses bring you close
did subjects. No one wants to get a reputation
tographer (except for paparazzi), but when applie
way, a long lens can help you capture memorabl
distance to stay out of the way of events as they
■ Reduced foreground/increased compression.
effect of wide angles: they reduce the importan
squeezing everything together. This compression
to be closer to subjects in the foreground and m
as a creative tool.
otography
polarizing filter. If you know that

d 90 degrees away from the sun and
ted 180 degrees from the sun, you
focal length of 16mm-28mm, the
or 97 to 44 degrees horizontally) is
out it: when a 16mm lens is pointed
bjects at the edges of the frame will
center at exactly 90 degrees. Either
he solution is to avoid using a polar-
ngth of less than 28mm.
m Lenses
your photography, and Sony is espe-
ces in many focal lengths and zoom
photo or tele-zoom to enhance your
most important things you need to
oto considerations that can be prob-
th-of-field within the frame, allow-

bject. You can open the lens up wide
n a bit to allow more to be in focus.
t to make a range of objects sharp,
pth-of-field you need. Like fire, the
or foe. Figure 6.11 shows a “wild”
a telephoto lens, which throws the
us.
er to wildlife, sports action, and can-
as a surreptitious or “sneaky” pho-
ed to candids in an open and honest
le moments while retaining enough
y transpire.
Telephoto lenses have the opposite
nce of things in the foreground by
n even makes distant objects appear
middle ranges. You can use this effect
■ Accentuates camera shakines
whammy in terms of camera/ph
more difficult to hold steady,
rocking effect when you suppo
rel. Telephotos also magnify an
tion is popular in longer lenses
■ Interesting angles require cre
in selecting interesting angles, b
narrow. Moving from side to si
ference in a wide-angle shot, bu
ably will have little effect on th
Figure 6.11 A wide f/stop helped isolate this lemur in his

ss. Telephoto focal lengths hit you with a double-

hotographer shake. The lenses themselves are bulkier,
and may even produce a barely perceptible seesaw
ort them with one hand halfway down the lens bar-
ny camera shake. It’s no wonder that image stabiliza-
s.
eativity. Telephoto lenses require more imagination
because the “angle” you do get on your subjects is so
ide or a bit higher or lower can make a dramatic dif-
ut raising or lowering a telephoto lens a few feet prob-
he appearance of the distant subjects you’re shooting.
natural habitat.
Avoiding Telephoto Lens Problem

Many of the “problems” that telephoto lenses pose ar
difficult to overcome. Here is a list of the seven m
suggested solutions.
■ Symptom: flat faces in portraits. Head-and-s
to be more flattering when a focal length of 85m
lengths compress the distance between features l
look wider and flat. A wide-angle might make n
you fill the frame with a face. So stick with 85mm
settings, going longer only when you’re forced to
wider only when shooting three-quarters/full-le
■ Symptom: blur due to camera shake. First, ma
on! Then, if possible, use a higher shutter spee
mount your camera on a tripod, monopod, or
Of those three solutions, only the second will red
SteadyShot or a tripod won’t help you freeze a r
■ Symptom: color fringes. Chromatic aberrati
problem found in telephoto lenses. There are o
tion, astigmatism, coma, curvature of field, a
nomena. The best solution for any of these is
proper degree of correction, or stop down the l
that’s not always possible. Your second-best cho
in your favorite RAW conversion tool or image e
filter (found in the Filter menu) offers sliders
blue/yellow fringing.
■ Symptom: lines that curve inwards. Pincushio
photo lenses. You might find after a bit of test
lengths with your particular zoom lens. Like ch
tially corrected using tools like Photoshop’s Len
■ Symptom: low contrast from haze or fog. W
objects, a long lens shoots through a lot more at
died up with extra haze and fog. That dirt or mo
contrast and mute colors. Some feel that a skyli
practice is mostly a holdover from the film day
enough to UV light for a UV filter to have much
to boost contrast and color saturation in your P
if necessary.
otography
ms
re really just challenges and not that
most common picture maladies and
shoulders portraits of humans tend

mm to 105mm is used. Longer focal
like noses and ears, making the face
noses look huge and ears tiny when
m to 105mm focal lengths or zoom
o shoot from a greater distance, and
ength portraits, or group shots.
ake sure you have SteadyShot turned
ed (boosting ISO if necessary), or
r brace it with some other support.
duce blur caused by subject motion;
racecar in mid-lap.
ion is the most pernicious optical
others, including spherical aberra-
and similarly scary sounding phe-
to use a better lens that offers the
lens to minimize the problem. But
oice may be to correct the fringing
editor. Photoshop’s Lens Correction
that minimize both red/cyan and
on distortion is found in many tele-

ting that it is worse at certain focal
hromatic aberration, it can be par-
ns Correction filter.
When you’re photographing distant
tmosphere, which generally is mud-
oisture in the atmosphere can reduce
ight or UV filter can help, but this
ys. Digital sensors are not sensitive
h effect. So you should be prepared
Picture Styles menu or image editor
■ Symptom: low contrast from
good reason: to reduce flare fro
ture area, or completely outside
are lower in contrast in the firs
lens hood to prevent further ef
with your hand).
■ Symptom: dark flash photos
telephoto lenses as it is with wid
make a subject that’s 50 feet aw
flash isn’t fooled. You’ll need ex
the ISO setting to ISO 3200.
Telephotos and Bokeh

Bokeh describes the aesthetic qualiti
out-of-focus points of light—circl
discs or smoothly fade into the back
h was added to keep English speake
broke. Although bokeh is visible in
cern with telephoto lenses, which,
duce more obviously out-of-focus a
of bokeh, and even offers a special
True Focus) lens designed with crea
Bokeh can vary from lens to lens, o
in use. Bokeh becomes objectionab
nated, making them stand out as di
in the center, producing an ugly “d
ration may produce out-of-focus di
center, because the lens doesn’t focu
as it does light going through the ce
effect.)
Other kinds of spherical aberration
the center and fade out at the edges,
at right in Figure 6.12. Ironically, w
are a uniform shade, which, while b
the bright center/dark edge renditio
round smooth circles considered the
mined by the shape of the lens diap
have seven or nine aperture blades
bokeh.
m flare. Lenses are furnished with lens hoods for a

om bright light sources at the periphery of the pic-
e it. Because telephoto lenses often create images that
st place, you’ll want to be especially careful to use a
ffects on your image (or shade the front of the lens
s. Edge-to-edge flash coverage isn’t a problem with

de angles. The shooting distance is. A long lens might
way look as if it’s right next to you, but your camera’s
xtra power for distant flash shots unless you increase
ies of the out-of-focus parts of an image and whether

les of confusion—are rendered as distracting fuzzy
kground. Boke is a Japanese word for “blur,” and the
ers from rendering it monosyllabically to rhyme with
blurry portions of any image, it’s of particular con-
thanks to the magic of reduced depth-of-field, pro-
areas. Sony applies the term defocusing to the effects
l lens, the SAL135F28 135mm f/2.8 STF (Smooth
amy backgrounds in mind.
or even within a given lens depending on the f/stop
ble when the circles of confusion are evenly illumi-
istinct discs, or, worse, when these circles are darker
doughnut” effect. A lens defect called spherical aber-
iscs that are brighter on the edges and darker in the
us light passing through the edges of the lens exactly
enter. (Mirror or catadioptric lenses also produce this
n generate circles of confusion that are brightest in

, producing a smooth blending effect, as you can see
when no spherical aberration is present at all, the discs
better than the doughnut effect, is not as pleasing as
on. The shape of the disc also comes into play, with
e best, and nonagonal or some other polygon (deter-
phragm) considered less desirable. Most Sony lenses
s with near-circular irises, producing very pleasing
Figure 6.12 Bokeh is less pleasing when the discs are prom
background (right).
If you plan to use selective focus a lot, you should in

of a particular lens before you buy. Sony user group
comments and questions about bokeh, so the resear
Add-ons and Special Features

Once you’ve purchased your telephoto lens, you’ll w
ate accessories for it. There are some handy add-ons
are a couple of them to think about.
Lens Hoods
Lens hoods are an important accessory for all lenses,
telephotos. As I mentioned earlier, lens hoods do a
trast by keeping bright light sources outside the field
potentially, bouncing around inside that long tube t
with atmospheric haze, can rob your image of detai
serve as valuable protection for that large, vulnerable
get that you’ve got that long tube sticking out in fro
otography
minent (left), and less obtrusive when they blend into the
nvestigate the bokeh characteristics

ps and forums will usually be full of
rch is fairly easy.
want to think about some appropri-

available that can be valuable. Here
, but they’re especially valuable with

good job of preserving image con-
d of view from striking the lens and,
to generate flare that, when coupled
il and snap. In addition, lens hoods
e, front lens element. It’s easy to for-
ont of your camera and accidentally
whack the front of your lens into so
is to have a lens repaired, so you mi
your prized optics.
When choosing a lens hood, it’s im
the one offered for that lens by Son
that blocks precisely the right amou
hood with a front diameter that is t
A hood that has a front diameter t
Generic lens hoods may not do the
When your telephoto is a zoom len
because you need one that does wh
photo ends of the zoom range. Len
the image frame), or petal shaped (
ners that correspond to the actual i
correct orientation (a bayonet mou
Telephoto Extenders
Telephoto extenders, like the SAL-
20TC 2.0X G-series tele-converter
giving you a longer telephoto for mu
length. These extenders fit between
ments that magnify the image prod
figurations from Sony, an extender
400mm optic, respectively. Given
the same field of view as a 420mm
$450 each, they’re quite a bargain,
Actually, there are some downsides.
of your original lens, autofocus is m
ture is f/4 or larger (for the 1.4X ex
components reduce the effective ap
with the 1.4X extender, and 2 f/sto
Macro Focusing
Some telephotos and telephoto zoo
close focusing capabilities, making
essarily to get close (get too close an
you’re really looking for in a macro
the final image. Camera-to-subject
up farther from your subject (say, t
omething. It’s cheaper to replace a lens hood than it

ight find that a good hood is valuable protection for
mportant to have the right hood for the lens, usually

ny or the third-party manufacturer. You want a hood
unt of light: neither too much light nor too little. A
too small can show up in your pictures as vignetting.
that’s too large isn’t stopping all the light it should.
e job.
ns, it’s even more important to get the right hood,
hat it is supposed to at both the wide-angle and tele-
ns hoods may be cylindrical, rectangular (shaped like
(that is, cylindrical, but with cutout areas at the cor-
image area). Lens hoods should be mounted in the
unt for the hood usually takes care of this).
-14TC 1.4X G-series tele-converter lens and SAL-

r lens multiply the actual focal length of your lens,
uch less than the price of a lens with that actual focal
n the lens and your camera and contain optical ele-
duced by the lens. Available in 1.4X and 2.0X con-
r transforms, say, a 200mm lens into a 280mm or
the Alpha’s crop factor, your 200mm lens now has
m or 600mm lens on a full-frame camera. At around
aren’t they?
. While extenders retain the closest focusing distance
maintained only if the lens’s original maximum aper-
xtender) or f/2.8 or larger (for the 2X extender). The
perture of any lens they are used with, by one f/stop
ops with the 2X extender.
oms available for the Sony Alpha have particularly

them macro lenses. Of course, the object is not nec-
nd you’ll find it difficult to light your subject). What
lens is to magnify the apparent size of the subject in
distance is most important when you want to back
to avoid spooking skittish insects or small animals).
In that case, you’ll want a macro lens with a longer

while retaining the desired magnification.
Sony makes two lenses with official macro designat
macro zooms, and other close-focusing lenses ava
Tokina. If you want to focus closer with a macro le
an accessory called an extension tube, like the ones sh
move the lens farther from the focal plane, allowin
also buy add-on close-up lenses, which look like filt
closely.
SteadyShot and Your Lenses

Vendors like Nikon and Canon sell special lenses wit
your Sony Alpha A850, every lens you own has imag
you with camera steadiness that’s the equivalent of
increments. This extra margin can be invaluable whe
ing conditions or handholding a long lens for, say,
shot of a foraging deer calls for a shutter speed of 1/
lens. Relax. You can shoot at 1/250th second at f/11
as long as the deer doesn’t decide to bound off.
otography
r focal length to allow that distance
tions. You’ll also find macro lenses,

ailable from Sigma, Tamron, and
ens, or any other lens, you can add
hown in Figure 6.13. These add-ons
ng it to focus more closely. You can
ters, and allow lenses to focus more
Figure 6.13
Extension
tubes enable
any lens to
focus more
closely to the
subject.
th anti-shake features built in. With

ge stabilization. SteadyShot provides
at least two or three shutter speed
en you’re shooting under dim light-
wildlife photography. Perhaps that
/1,000th second at f/5.6 with your
1 and get virtually the same results,
Or, maybe you’re shooting a high sc
really, really like to use 1/15th secon
the stage at high speed, your wide-a
position. However, keep these facts
■ SteadyShot doesn’t stop actio
replace the action-stopping cap
tion applies only to camera shak
SteadyShot works great in low
photography. It’s not always th
enough light to allow a sufficien
your shot even sharper.
■ Stabilization might slow you d
camera shake takes time, just as
adds to the lag between when
ally taken. That’s another reason
for sports.
■ Use when appropriate. Some
while you’re panning. You migh
camera is mounted on a tripod
■ Do you need SteadyShot at a
be able to provide the same add
field shooting wild animals or f
pod first.
chool play without a tripod or monopod, and you’d

nd at f/4. Assuming the actors aren’t flitting around
angle lens can grab the shot for you at its wide-angle
s in mind:
on. Unfortunately, no stabilization is a panacea to
pabilities of a higher shutter speed. Image stabiliza-
ke. You still need a fast shutter speed to freeze action.
light, when you’re using long lenses, and for macro
he best choice for action photography, unless there’s
ntly high shutter speed. If so, stabilization can make
down. The process of adjusting the sensor to counter

s autofocus does, so you might find that SteadyShot
you press the shutter and when the picture is actu-
n why image stabilization might not be a good choice
etimes, stabilization produces worse results if used

ht want to switch off IS when panning or when your
d.
all? Remember that an inexpensive monopod might
ditional steadiness as SteadyShot. If you’re out in the
flowers and think a tripod isn’t practical, try a mono-
This page intenti
ionally left blank
Successful photographers and artist
of light in shaping an image. Remb
and reveal the character of his sub
“Painter of Light.” The late Dean C
ized how a whole generation of pho
ble to underestimate how the us
from—your photographs.
All forms of visual art use light to sh
trol over the light used to illumina
using planes and curved surfaces so
from a variety of viewing and light
trol over both shape and light in th
use both the contours of their two-d
they use to illuminate those subject
Photography is a third form of art. T
the subject (other than posing hum
and the nature of the light source t
tion and intensity of the light sour
distribution and proportions determ
is stark or high key, or muted and lo
“white” light has a color balance th
colors the subject reflects or absorb
7
Making Light
Work for You
ts have an intimate understanding of the importance
brandt was a master of using light to create moods
bjects. Artist Thomas Kinkade’s official tagline is
Collins, co-founder of Finelight Studios, revolution-
otographers learned and used lighting. It’s impossi-
e of light adds to—and how misuse can detract
hape the finished product. Sculptors don’t have con-

ate their finished work, so they must create shapes
o that the form envisioned by the artist comes to life
ting angles. Painters, in contrast, have absolute con-
heir work, as well as the viewing angle, so they can
dimensional subjects and the qualities of the “light”
ts to evoke the image they want to produce.
The photographer may have little or no control over
man subjects) but can often adjust both viewing angle
to create a particular compelling image. The direc-
rces create the shapes and textures that we see. The
mine the contrast and tonal values: whether the image
ow in contrast. The colors of the light (because even
hat the sensor can detect), and how much of those
bs, paint the hues visible in the image.
As a Sony Alpha photographer, you must learn to b

you want to move from taking a picture to making a
an introduction to using the two main types of illum
as daylight, incandescent, or fluorescent sources) and
light we call electronic flash.
The Elements of Light

Unless you’re extraordinarily lucky, or supremely o
things of artistic value, doesn’t happen by accident. I
domly encounter a scene or subject that’s bathed in
that perfectly sculpts an image in highlights and sha
I encountered the stark geometric shapes of the foun
Figure 7.1. All I really needed to do was walk around
angle. The light was already there; I just needed to
recognize it.
Figure 7.1 Recognizing and using interesting illumination

otography
be a painter and sculptor of light if

photograph. This chapter provides
mination: continuous lighting (such
d the brief, but brilliant snippets of
observant, great lighting, like most

It’s entirely possible that you’ll ran-
n marvelous lighting, illumination
adows. That’s what happened when
ntain in the infrared shot shown in
d the fountain until I found the best
be lucky enough to encounter and
n allows you to sculpt your photographs with light.

But how often can you count on su
and golfer Gary Player have all been
I work, the luckier I get.” If you wo
you’ll find yourself becoming lucki
Knowledge, patience, and the abili
keys to great lighting. Ansel Adams
lighting for a composition, and he
where to stand.” You have to posses
already present, and have the skill t
One of my favorite stories is about
part of his career shooting pho
low-contrast illumination. That k
because there is no interplay of hi
tion. Only when Krause was convi
on to work with more dramatic a
taken in Seville, Spain more than
streetDetail.php5?SHADOW-2. D
woman followed by a dark secret?
Continuous Lighting—
Continuous lighting is exactly wha
is available all the time during a sho
cial lighting encountered both indo
(although all of them can be “inte
fuse, or simply by switching a lamp
the lights that are there already (su
lights indoors) and fixtures you sup
tors used to bounce existing light o
The surge of light we call electroni
by an electrical charge that is accum
directed through a glass tube contai
the brief flash. Electronic flash is no
tinuous lighting, lasts only a brief m
plementary incandescent sources.
anywhere.
Your Sony Alpha DSLR-A850, as a
in electronic flash. Instead, you’ll h
on the Alpha’s accessory shoe or use
a slave light (which sets off a flash w
Chapter 7 ■ Making Light Work for You 215
uch luck? Ansel Adams, producer Samuel Goldwyn,

n credited with originating the phrase, “The harder
ork at learning what light can do, and how to use it,
ier too.
ity to use the lighting tools at your disposal are the
s was known for his patience in seeking out the best
e did actually say, “A good photograph is knowing
ss the ability to recognize effective lighting when it is
to manipulate the light when it is not.
t photographer George Krause, who spent the early
otographs only on overcast days, under diffuse,
kind of lighting can be exceptionally challenging,
ighlights and shadows to add depth to a composi-
inced that he understood soft lighting did he move
applications of light. Check out Krause’s Shadow,
n 40 years ago at http://georgekrause.com/gallery/
Does the photo show an old woman—or an old
—or Electronic Flash?

at you might think: uninterrupted illumination that
ooting session. Daylight, moonlight, and the artifi-
oors and outdoors count as continuous light sources
errupted” by passing clouds, solar eclipses, a blown
off ). Indoor continuous illumination includes both
uch as incandescent lamps or overhead fluorescent
pply yourself, including photoflood lamps or reflec-
onto your subject.
ic flash is produced by a burst of photons generated
mulated in a component called a capacitor and then
ining xenon gas, which absorbs the energy and emits
otable because it can be much more intense than con-
moment, and can be much more portable than sup-
It’s a light source you can carry with you and use
a “pro” camera, does not incorporate a flip-up built-

have to work with an external flash, either mounted
ed off-camera and linked with a cable or triggered by
when it senses the firing of another unit). Studio flash
units are electronic flash, too, and aren’t limited to “

economical “monolight” (one-piece flash/power supp
range. Those who want to set up a home studio with
ple to store in a closet and use to set up a home stu
ing when traveling away from home. There are adv
type of illumination. Here’s a quick checklist of pro
■ Lighting preview—Pro: continuous lighting.
incandescent lamps or daylight (see Figure 7.2),
of lighting effect you’re going to get and, if mul
interact with each other. With electronic flash, t
may be a mystery until you’ve built some exper
a shot on the LCD, make some adjustments, an
want. (In this sense, a digital camera’s review ca
shots pro photographers relied on in decades pa
■ Lighting preview—Con: electronic flash. Wh
eling light function (consisting of a series of lo
period of time), this feature is no substitute fo
always-on modeling lamp like that found in st
units increases, lighting previews, especially if y
illumination provided by each flash, grow more
■ Exposure calculation—Pro: continuous ligh
calculating exposure for continuous lighting, be
and can be measured through a sensor that
viewfinder. The amount of light available just b
all cases, be the same amount of light present
Alpha’s Spot metering mode can be used to mea
of light in the highlights and shadows, so you
using more or less fill light) if necessary. You ca
to measure the light yourself.
■ Exposure calculation—Con: electronic flash.
n’t exist until the flash fires, and so it can’t be me
sor when the mirror is flipped up during the ex
measured by metering the intensity of a preflash
flash, as it is reflected back to the camera and th
actually have two exposure measuring modes usi
Distance Integration) flash mode, which adds in
flash exposure, and Pre-Flash TTL, which uses o
flash reflected back to the camera from the subjec
there are handheld flash meters, too, including m
continuous light.
otography
“professional” shooters, as there are

ply) units available in the $200 price
h some cash to spare can buy a cou-
udio, or use as supplementary light-
vantages and disadvantages to each
os and cons:
. With continuous lighting, such as
you always know exactly what kind
ltiple lights are used, how they will
the general effect you’re going to see
rience, and you may need to review
nd then reshoot to get the look you
apabilities replace the Polaroid test
ast.)
hile some external flash have a mod-
ow-powered bursts that flash for a
or continuous illumination, or an
tudio flash. As the number of flash
you want to see the proportions of
e complex.
hting. Your Alpha has no problem
ecause the lighting remains constant
interprets the light reaching the
before the exposure will, in almost
when the shutter is released. The
asure and compare the proportions
u can make an adjustment (such as
an even use a handheld light meter
. Electronic flash illumination does-

easured by the Alpha’s exposure sen-
xposure. Instead, the light must be
triggered an instant before the main
hrough the lens. The Alpha cameras
ing the preflash: the ADI (Advanced
n distance information to calculate
only the information from the pre-
ct. If you have a do-it-yourself bent,
models that measure both flash and
Figure 7.2 You always know how the highlights will look,
illumination.
and how the shadows will fall, when using continuous

■ Evenness of illumination—Pro/con: continu

sources, daylight, in particular, provides illum
completely, lighting up the foreground, back
equally. Shadows do come into play, of course,
or fill-in light sources to even out the illuminati
block large sections of your image from dayligh
Indoors, however, continuous lighting is comm
average living room, for example, has hot spots
side, you can see this uneven illumination and
or reflectors.
■ Evenness of illumination—Con: electronic fla
tinuous light sources such as lamps that don’t h
93 million miles from the subject, suffer from
inverse square law, first applied to both gravity a
tates that as a light source’s distance increases fro
reaching the subject falls off proportionately to
English, that means that a flash or lamp that’s e
vides only one-quarter as much illumination as a
than half as much). (See Figure 7.3.) This transl
of-light.”
Figure 7.3 A light source that is twice as far away provides

otography
uous lighting. Of continuous light

mination that tends to fill an image
kground, and your subject almost
so you might need to use reflectors
ion further, but barring objects that
ht, the light is spread fairly evenly.
monly less evenly distributed. The
s and dark corners. But on the plus
compensate with additional lamps
ash: Electronic flash units, like con-

have the advantage of being located
the effects of their proximity. The
and light by Sir Isaac Newton, dic-
om the subject, the amount of light
the square of the distance. In plain
eight feet away from a subject pro-
a source that’s four feet away (rather
lates into relatively shallow “depth-
s only one-quarter as much illumination.

■ Action stopping—Con: cont
light sources is completely dep
camera. And the speeds availab
and your camera’s ISO sensitiv
bly be enough sunlight to let yo
grainy sensitivity setting of ISO
if you’re not using a super-telep
the reduced illumination quick
For example, if you’re shootin
available light to allow you to
routinely shoot indoor basket
many indoor sports situations,
or slower.
■ Action stopping—Pro: electr
moving objects in their tracks, t
tion of electronic flash serves a
main or only source of illumina
may be set for 1/160th second d
predominates, the effective expo
ond or less duration of the flas
tographer Kris Bosworth, becau
by cutting short the duration o
the ambient light is strong eno
as I’ll explain later in this chap
■ Cost—Pro: continuous lighti
much less expensive than exter
eral hundred dollars. I’ve used e
tor floodlights for continuous il
especially for photographic pur
economical, too; many incande
dollars.
■ Cost—Con: electronic flash.
lowest-cost dedicated flash de
F20AM) is less than $130. Such
for those with entry-level came
tures that a sophisticated electr
inuous lighting. Action stopping with continuous

pendent on the shutter speed you’ve dialed in on the
ble are dependent on the amount of light available
vity setting. Outdoors in daylight, there will proba-
ou shoot at 1/2,000th second and f/6.3 with a non-
O 400. That’s a fairly useful combination of settings
photo with a small maximum aperture. But inside,
kly has you pushing your Sony Alpha to its limits.
ng indoor sports, there probably won’t be enough
o use a 1/2,000th second shutter speed (although I
tball at ISO 1600 and 1/500th second at f/4). In
, you may find yourself limited to 1/500th second
ronic flash. When it comes to the ability to freeze

the advantage goes to electronic flash. The brief dura-
as a very high “shutter speed” when the flash is the
ation for the photo. Your Sony Alpha’s shutter speed
during a flash exposure, but if the flash illumination
osure time will be the 1/1,000th to 1/50,000th sec-
sh, as you can see in Figure 7.4, by Cleveland pho-
use the flash unit reduces the amount of light released
of the flash. The only fly in the ointment is that, if
ough, it may produce a secondary “ghost” exposure,
pter.
ing. Incandescent or fluorescent lamps are generally
rnal electronic flash units, which can easily cost sev-
everything from desktop hi-intensity lamps to reflec-
llumination at very little cost. There are lamps made
rposes, too, priced up to $50 or so. Maintenance is
escent or fluorescents use bulbs that cost only a few
Electronic flash units aren’t particularly cheap. The

signed specifically for the Sony dSLRs (the HVL-
h units are limited in features, however, and intended
eras. Plan on spending some money to get the fea-
ronic such as the HVL-F58AM flash offers.
■ Flexibility—Con: continuous lighting. Beca

lamps are not as bright as electronic flash, the
“Action stopping,” above) mean that you may ha
cially when shooting portraits. The incandescent
hot, especially in the studio, and the side effect
human models) to disintegration (if you happe
like ice cream).
■ Flexibility—Pro: electronic flash. Electronic f
you to work without a tripod in the studio (and
speed when choosing angles and positions. Flas
because the filtration is placed over the light sou
need to use high quality filter material. For exam
processed Ektachrome film can make a dandy in
Theatrical lighting gels, which may be too flims
mounted or taped in front of your flash with ea
light falling on a scene.
otography
Figure 7.4
Electronic flash
can freeze
almost any
action.
ause incandescent and fluorescent

slower shutter speeds required (see
ave to use a tripod more often, espe-
t variety of continuous lighting gets
ts range from discomfort (for your
en to be shooting perishable foods
flash’s action-freezing power allows

d elsewhere), adding flexibility and
sh units can be easily filtered, and,
urce rather than the lens, you don’t
mple, a couple sheets of unexposed,
nfrared-pass filter for your flash unit.
sy to use in front of the lens, can be
ase to change the color or quality of
Continuous Lighting
While continuous lighting and its e
than electronic flash, there are some
the color temperature of the light. (
tinuous light sources, of course, but
dictable than those of electronic fla
Color temperature, in practical term
to be to the digital camera’s sensor.
and appears reddish to the sensor. D
sor. Our eyes (our brains, actually
objects don’t appear to have an ora
excessively blue outdoors in full day
and the sensor is not fooled. To cap
color temperature into account in
Alpha—either automatically usin
knowledge and experience.
Color temperature can be confusin
temperatures are named: warmer
degrees Kelvin) are the lower numbe
numbers. It might not make sense t
the way it is. If it helps, think of
welder’s torch, rather than fire and
The confusion comes from physics.
emitted by a mythical object called
energy that strikes it, and reflects n
perfectly, but it emits it perfectly wh
fect, that makes it mythical).
At a particular physical temperature
wavelength or color. That makes i
actual temperature in degrees on th
for example, typically has a color t
range from 5,500K to 6,000K. Eac
its own color temperature range—w
rize everything you need to know a
Basics
effects are generally much easier to visualize and use
e factors you need to take into account, particularly
(Color temperature concerns aren’t exclusive to con-
t the variations tend to be more extreme and less pre-
ash.)
ms, is how “bluish” or how “reddish” the light appears
. Indoor illumination is quite warm, comparatively,
Daylight, in contrast, seems much bluer to the sen-
y) are quite adaptable to these variations, so white
ange tinge when viewed indoors, nor do they seem
ylight. Yet, these color temperature variations are real
pture the most accurate colors, we need to take the
setting the color balance (or white balance) of the
ng the camera’s smarts or manually using our own
ng, because of a seeming contradiction in how color

(more reddish) color temperatures (measured in
ers, while cooler (bluer) color temperatures are higher
to say that 3,400K is warmer than 6,000K, but that’s
a glowing red ember contrasted with a white-hot
ice.
. Scientists calculate color temperature from the light
a black body radiator, which absorbs all the radiant
none at all. Such a black body not only absorbs light
hen heated (and since nothing in the universe is per-
e, this imaginary object always emits light of the same

it possible to define color temperature in terms of
he Kelvin scale that scientists use. Incandescent light,
temperature of 3,200K to 3,400K. Daylight might
ch type of illumination we use for photography has
with some cautions. The next sections will summa-
about the qualities of these light sources.
Daylight
Daylight is produced by the sun, and so is moonligh
Daylight is present, of course, even when you can’t se
it can be bright and harsh. If daylight is diffused by
objects such as walls or your photo reflectors, or filte
mer and less contrasty.
Daylight’s color temperature can vary quite widely
when the sun is directly overhead, because the ligh
amount of the filtering layer we call the atmosphere. T
may be 6,000K. At other times of day, the sun is lo
the air provide a filtering effect that warms the illum
of the day. Starting an hour before dusk and for an h
ance of the sunlight is even visible to our eyes when
5,000-4,500K, as shown in Figure 7.5.
Because you’ll be taking so many photos in daylight
compensate for the brightness and contrast of sunli
color temperature. I’ll provide some hints later in th
Incandescent/Tungsten Light
The term incandescent or tungsten illumination is u
dents of Thomas Edison’s original electric lamp. Suc
contains a vacuum, or is filled with a halogen gas, an
is heated by an electrical current, producing photons
are a variation on the basic light bulb, using a mor
ment that can be heated to a higher temperature, h
envelope, and filled with iodine or bromine (“halog
allows tungsten-halogen (or quartz-halogen/quartz
struction) lamps to burn “hotter” and whiter. Altho
lamps today, they’ve also been popular for photogra
Although incandescent illumination isn’t a perfect bl
that the color temperature of such lamps can be p
3,400K, depending on the type of lamp) and used
about color variation (at least, until the very end of
The other qualities of this type of lighting, such as c
tance of the lamp from the subject, type of reflecto
explain later in this chapter.
otography
ht (which is just reflected sunlight).

ee the sun. When sunlight is direct,
y clouds, softened by bouncing off
ered by shade, it can be much dim-
y. It is highest (most blue) at noon

ht is traveling through a minimum
The color temperature at high noon
ower in the sky and the particles in
mination to about 5,500K for most
hour after sunrise, the warm appear-
n the color temperature may dip to
t, you’ll want to learn how to use or

ight, as well as how to deal with its
his chapter.
usually applied to the direct descen-

ch lights consist of a glass bulb that
nd contains a tungsten filament that
s and heat. Tungsten-halogen lamps
re rugged (and longer-lasting) fila-
housed in a thicker glass or quartz
gen”) gases. The higher temperature
z-iodine, depending on their con-
ough popular for automobile head-
aphic illumination.
lack body radiator, it’s close enough
precisely calculated (about 3,200-
for photography without concerns
the lamp’s life).
contrast, are dependent on the dis-
ors used, and other factors that I’ll
Figure 7.5
At dawn and
dusk, the color
temperature of
the sky may
dip as low as
4,500K.
Fluorescent Light/Other Light Sou

Fluorescent light has some advantages in terms of illu
from a photographic standpoint. This type of lamp
chemical reaction that emits most of its energy as vi
is why the bulbs don’t get as hot. The type of light
phosphor coatings and type of gas in the tube. So,
produce can vary widely in its characteristics.
That’s not great news for photographers. Different t
temperatures” that can’t be precisely measured in de
produced by heating. Worse, fluorescent lamps have
that can have some colors missing entirely. A parti
shades of red or other colors (see Figure 7.6), which
alternative technologies such as sodium-vapor illum
ing human skin tones. Their spectra can lack the redd
skin and emphasize the blues and greens popular in
otography
urces
umination, but some disadvantages
generates light through an electro-
isible light, rather than heat, which
produced varies depending on the
the illumination fluorescent bulbs
types of lamps have different “color

egrees Kelvin, because the light isn’t
e a discontinuous spectrum of light
icular type of tube can lack certain
is why fluorescent lamps and other
mination can produce ghastly look-
dish tones we associate with healthy
n horror movies.
Figure 7.6
The fluorescent
lighting in this
gym added a
distinct green-
ish cast to the
image.
Adjusting White Balanc
In most cases, the Sony Alpha will d
Auto, described in Chapter 5, can b
set values or set a custom white balan
you need to. The only really problem
such as GE and Sylvania, may actual
(or CRI), which is a measure of how
dard colors, using a scale of 0 (some s
descent lamps). Daylight fluorescents
of about 79 to 95, which is perfectly
white fluorescents might have a CR
suitable with a CRI of 45, while low
Remember that if you shoot RAW
when you import it into Photoshop,
your preferred RAW converter, inc
ancing filters that fit on the front of
eras, because film’s color balance ca
Electronic Flash Basic

Until you delve into the situation d
raphers have a love/hate relationsh
photography is less natural looking
never be used as the primary source
look. Available (“continuous”) light
to be roundly denounced.
In truth, however, the bias is again
the studio light source of choice for
intensity can be varied to order by th
a tripod (unless you want to use one
sistent light quality that matches day
tion shortens, some Sony flash uni
balance provided for that shot.) An
important uses as an adjunct to exis
But electronic flash isn’t as inherent
lier, electronic flash units are more
effect will be, unless you use a secon
flashes, such as the HVL-F58AM, h
bilities built in), and the exposure o
accurately.
ce
do a good job of calculating white balance for you, so
be used as your choice most of the time. Use the pre-
nce that matches the current shooting conditions when
matic light sources are likely to be fluorescents. Vendors,
lly provide a figure known as the color rendering index
w accurately a particular light source represents stan-
sodium-vapor lamps) to 100 (daylight and most incan-
s and deluxe cool white fluorescents might have a CRI
acceptable for most photographic applications. Warm
RI of 55. White deluxe mercury vapor lights are less
w-pressure sodium lamps can vary from CRI 0-18.
W, you can specify the white balance of your image
, Photoshop Elements, or another image editor using
cluding Image Data Converter SR. While color-bal-
the lens exist, they are primarily useful for film cam-
an’t be tweaked as extensively as that of a sensor.
cs
deeply enough, it might appear that serious photog-
hip with electronic flash. You’ll often hear that flash
g, and that the built-in flash in most cameras should
e of illumination because it provides a harsh, garish
ting is praised, and built-in flash photography seems
nst bad flash photography. Indeed, flash has become

pro photographers, because it’s more intense (and its
he photographer), freezes action, frees you from using
e to lock down a composition), and has a snappy, con-
ylight. (While color balance changes as the flash dura-
its can communicate to the camera the exact white
nd even pros will cede that electronic flash has some
sting light, particularly to fill in dark shadows.
tly easy to use as continuous lighting. As I noted ear-
expensive, don’t show you exactly what the lighting
nd source called a modeling light for a preview (some
have pulsed light rudimentary modeling light capa-
of electronic flash units is more difficult to calculate
How Electronic Flash Works

The electronic flash you use will be connected to the
shoe, or linked by a cable connected to the PC con
In all cases, the flash is triggered at the instant of ex
sensor is fully exposed by the shutter.
As I mentioned earlier in this book, the Alpha has a v
sists of two curtains. The first curtain opens and mov
at which point the shutter is completely open. The
(so-called first-curtain sync), making the flash expos
vary from 30 seconds to 1/200th or 1/250th second.
when SteadyShot is activated; turn SteadyShot off a
the Sony Alpha A850 at up to 1/250th second.) Afte
moving across the sensor plane, covering up the se
just before the second curtain starts to close, then s
cases, though, a shutter speed of 1/200th or 1/250t
be used to take a photo.
Figure 7.7 illustrates how this works, with a fancif
(your Alpha’s shutter does not look like this, and som
bottom to top rather than the top-to-bottom motio
closed at upper left. At upper right, the first curtain
ing to expose a narrow slit that reveals the sensor be
otography
e camera by slipping it onto the hot

nnector on the front of the camera.
xposure, during a period when the
vertically traveling shutter that con-

ves to the opposite side of the frame,
flash can be triggered at this point
sure. Then, there is a delay that can
(The 1/200th second figure applies
and you can synchronize flash with
er the delay, a second curtain begins
ensor again. If the flash is triggered
second-curtain sync is used. In both
th second is the maximum that can
ful illustration of a generic shutter

me vertically traveling shutters move
on shown). Both curtains are tightly
n begins to move downwards, start-
ehind the shutter. At lower left, the
Figure 7.7
A focal plane
shutter has two
curtains, the
lower, or first
curtain, and an
upper, second
curtain.
first curtain moves downward farth
the sensor is fully exposed.
When first-curtain sync is used, th
completely exposed. The shutter th
(from 30 seconds to 1/200 or 1/250
downward, covering the sensor onc
flash is triggered after the main exp
to move downward.
I explained how to set flash sync mo
to front/first-curtain sync unless you
screen (use the Recording menu 2 o
flash mode is blocked when using P
Avoiding Sync Speed Problem

Using a shutter speed faster than
Triggering the electronic flash only
sense if you think about what’s goin
or 1/250th second, the Alpha expo
the second curtain on its journey b
effectively provides a briefer exposu
the sensor. If the flash were to fire
partially obscured the sensor, only t
You’d end up with only a narrow ba
exposed when the picture is taken. F
second curtain begins moving befor
As a result, a moving slit, the dista
one portion of the sensor at a time
shows three views of our typical (bu
the closed shutter; in the middle v
about 1/4 of the distance down from
curtain has started to “chase” the fi
If the flash is triggered while this sli
will receive any illumination. You
7.9. Note that a band across the bo
second shutter curtain, which had s
eyed readers will wonder why the b
at the top, where the second curtain
flips the image upside down and for
notice that, because the camera is s
your photo in their proper orientati
her until, as you can see at lower right in the figure,
he flash is triggered at the instant that the sensor is

hen remains open for an additional length of time
0th second), and the second curtain begins to move
ce more. When second-curtain sync is activated, the
posure is over, just before the second curtain begins
ode in Chapter 3. The Alpha cameras always default

u explicitly select another mode using the Flash mode
or the Quick Navi screen to make this setting). Auto
P, S, A, or M modes.
ms
n the maximum sync speed can cause problems.
when the shutter is completely open makes a lot of
ng on. To obtain shutter speeds faster than 1/200th
oses only part of the sensor at one time, by starting
before the first curtain has completely opened. That
ure as the slit of the shutter passes over the surface of
during the time when the first and second curtains
the slit that was actually open would be exposed.
and, representing the portion of the sensor that was
For shutter speeds faster than the top sync speed, the
re the first curtain reaches the bottom of the frame.
ance between the first and second curtains, exposes
as it moves from the bottom to the top. Figure 7.8
ut imaginary) focal plane shutter. At left is pictured
version you can see the first curtain has moved up
m the top; and in the right-hand version, the second
irst curtain across the frame towards the bottom.
it is moving, only the exposed portion of the sensor
end up with a photo like the one shown in Figure
ottom of the image is black. That’s a shadow of the
started to move when the flash was triggered. Sharp-
black band is at the bottom of the frame rather than
n begins its journey. The answer is simple: your lens
rms it on the sensor in a reversed position. You never
smart enough to show you the pixels that make up
ion during picture review. But this image flip is why,
Figure 7.8 A closed shutter (left); partially open shutter as

part of the sensor is exposed as the slit moves (right).
if your sensor gets dirty and you detect a spot of du

if cleaning manually, you need to look for the speck
I generally end up with sync speed problems only w
studio flash units rather than my Sony dedicated u
either type of “smart” flash, the camera knows that
any unintentional goof in shutter speed settings. If y
ter to a faster speed in S or M mode, the camera w
speed down to the maximum sync speed as soon as
flash (or prevent you from choosing a faster speed i
P, where the Alpha selects the shutter speed, it will n
than 1/200th or 1/250th second when using flash.
otography
the first curtain begins to move downwards (middle); only
Figure 7.9
If a shutter
speed faster
than 1/200th
or 1/250th
second is used
with flash, you
can end up
photographing
only a portion
of the image.
ust in the upper half of a test photo,

k in the bottom half of the sensor.
when shooting in the studio, using
unit. That’s because if you’re using
t a strobe is attached, and remedies
you happen to set the Alpha’s shut-
will automatically adjust the shutter
you attach and turn on an external
if the flash is powered up). In A, or
never choose a shutter speed higher
But when using a non-dedicated fl
PC/X connector, the camera has no
ter speeds faster than 1/200th or 1/
Note that the Alpha can use a featu
faster than the maximum sync spee
When using high-speed sync, the
power for the entire duration of the
the sensor as the slit moves.
HS sync is set using the controls th
include the HVL-F58AM, HVL-F5
be used when working with multipl
on the LCD panel on the back of
panel and viewfinder. You’ll find com
Ghost Images
The difference might not seem like
default setting) or rear-curtain sync
ence to your photograph if the amb
At faster shutter speeds, particularly
ent light to register, unless it is very
vide almost all the illumination, so
important.
However, at slower shutter speeds,
significant difference, particularly i
In any of those situations, the amb
nying the flash exposure, and if the
image will not be in the same place
and, if the movement is significant
or behind your subject in the direct
As I mentioned earlier, when you’re
the shutter opens, producing an im
remains open for an additional per
1/250th second). If your subject is m
ghost image produced by the ambie
original subject image, making it lo
ing the ghost. For those of us who g
left a ghost trail behind them, that l
lash, such as a studio unit plugged into the Alpha’s

o way of knowing that a flash is connected, so shut-
/250th second can be set inadvertently.
ure called high-speed sync that allows shutter speeds
ed with certain external dedicated Sony flash units.
flash fires a continuous series of bursts at reduced
e exposure, so that the illumination is able to expose
hat adjust the compatible external flash units, which

56AM, HVL-F42AM, and HVL-F36AM. It cannot
le flash units. When active, the message HSS appears
the flash, and H/HSS appears on the A850’s LCD
mplete instructions accompanying those flash units.
e much, but whether you use first-curtain sync (the

c (an optional setting) can make a significant differ-
bient light in your scene also contributes to the image.
y 1/160th second, there isn’t much time for the ambi-
y bright. It’s likely that the electronic flash will pro-
o first-curtain sync or second-curtain sync isn’t very
, or with very bright ambient light levels, there is a

if your subject is moving, or the camera isn’t steady.
bient light will register as a second image accompa-
ere is movement (camera or subject), that additional
e as the flash exposure. It will show as a ghost image
enough, as a blurred ghost image trailing in front of
tion of the movement.
using first-curtain sync, the flash goes off the instant
mage of the subject on the sensor. Then, the shutter
riod (which can be from 30 seconds to 1/200th or
moving, say, towards the right side of the frame, the
ent light will produce a blur on the right side of the
ook as if your sharp (flash-produced) image is chas-
grew up with lightning-fast superheroes who always
looks unnatural (see Figure 7.10).
Figure 7.10 Front-curtain sync produces an image that tra

curtain sync creates a more “natural looking” trail behind th
So, Sony provides rear (second) curtain sync to reme

shutter opens, as before. The shutter remains open f
ghost image forms. If your subject moves from the
side, the ghost will move from left to right, too. Then
second shutter curtain closes, the flash is triggered, p
ahead of the ghost image. Voilà! We have monsieur
ing image.
EVERY WHICH WAY, INCLUDING UP

Note that although I describe the ghost effect in terms
left to right in a horizontally oriented composition, it c
with the subject moving in any direction. (Try photogr
and you’ll see the same effect.) Nor are the ghost imag
shutters travel vertically rather than horizontally. Secon
the time the first curtain fully opens, and the second c
tion of travel of the shutter curtains, or the direction o
otography
ails in front of the flash exposure (top), whereas rear-

he flash image (bottom).
edy the situation. In that mode, the

for its designated duration, and the
e left side of the frame to the right
n, about 1.5 milliseconds before the
producing a nice, sharp flash image
r le Flash outrunning his own trail-
s of subject matter that is moving

can occur in any orientation, and
raphing a falling rock, if you can,
ges affected by the fact that modern
ndary images are caused between
curtain begins to close. The direc-
of your subject does not matter.
Slow Sync
Another flash synchronization optio
that tells the A850 to use slower sh
a scene by both flash and ambient
Slow Sync button on the back of th
window. A * symbol appears on th
Sync is active and the exposure has
shooting with flash to keep Slow Sy
Then, the exposure system will try
an initial exposure is made with the
the background will be produced b
portrait of a person at night and, mu
trait subject will be illuminated by
It’s a good idea to have the camera m
SteadyShot switched on to avoid ha
due to camera movement during th
Because Slow Sync is a type of expo
Shutter priority mode (because the A
Determining Exposure
Calculating the proper exposure fo
plicated than determining the settin
ply a function of how far away you
mentioned does have an effect: the
for the exposure. The Alpha can ca
its name (these lenses transmit dist
distance that’s locked in just prior t
But, of course, flash exposure isn’t b
or less light at the same distance so,
of light reflected back and through t
uring until it’s triggered, the Alpha
The solution is to fire the flash twic
then followed by a main flash that’s
vide a correct exposure. As a result,
and shorter for closer subjects, dep
through-the-lens evaluative flash e
mation from a DT lens is called AD
Integration), and it operates whene
the Alpha, and a lens that provides
umentation that came with your le
on is slow sync, which is actually an exposure option

hutter speeds when possible, to allow you to capture
illumination. With a flash unit mounted, press the
he camera, just to the lower right of the viewfinder
he LCD and in the viewfinder to indicate that Slow
s been locked. Continue pressing the button while
ync active.
y to use longer shutter speeds with the flash, so that
e flash unit, and a secondary exposure of subjects in
by the slower shutter speed. This will let you shoot a
uch of the time, avoid a dark background. Your por-
the flash, and the background by the ambient light.
mounted on a tripod or some other support, or have
aving this secondary exposure produce ghost images
he exposure.
osure control, it does not work in Manual mode or
A850 doesn’t choose the shutter speed in those modes).
or an electronic flash photograph is a bit more com-

ngs by continuous light. The right exposure isn’t sim-
ur subject is, even though the inverse square law I
farther away the subject is, the less light is available
alculate distance if you’re using a lens with “DT” in
tance codes to the camera), based on the autofocus
to taking the picture.
based on distance alone. Various objects reflect more
obviously, the camera needs to measure the amount
the lens. Yet, as the flash itself isn’t available for meas-
has nothing to measure.
ce. The initial shot is a preflash that can be analyzed,
given exactly the calculated intensity needed to pro-
, the primary flash may be longer for distant objects
pending on the required intensity for exposure. This
exposure system when coupled with distance infor-
DI flash exposure (ADI stands for Advanced Distance
ever you have attached a Sony dedicated flash unit to
s distance integration information. (Check the doc-
ens to see if it is compatible with ADI.)
Using the External Electronic Fl

Sony currently offers several accessory electronic fla
eras. They can be mounted to the flash accessory sh
icated cord that plugs into the flash shoe to maint
camera for all special features. The beefier units range
7.11), which can correctly expose subjects up to 17
the HVL-F36AM, which is good out to 11 feet at f/
ranges at even higher ISO settings, of course.) A ve
$129 HVL-F20AM, was introduced recently, alo
models. There is also an electronic flash unit, the HV
ically for specialized close-up flash photography.
HVL-F58AM Flash Unit

This $499 flagship of the Sony accessory flash line i
pany offers, with an ISO 100 guide number of 58/
are a standard way of specifying the power of a flash in
Divide the guide number by the distance to determ
of 190, you would use f/19 at 10 feet (190 divided
otography
lash
ash units for the Sony Alpha cam-
hoe, or used off-camera with a ded-
tain full communications with the
e from the HVL-F58AM (see Figure
7 feet away at f/11 and ISO 100, to
/11 and ISO 100. (You’ll get greater
ery inexpensive and useful unit, the
ong with several entry-level dSLR
VL-RLAM Alpha Ring Light, specif-
is the most powerful unit the com-

/190 (meters/feet). Guide numbers
n manual, non-autoexposure mode.
mine the correct f/stop. With a GN
by 10), or f/8.5 at 20 feet.
Figure 7.11
The Sony
HVL-F58AM
is a top-of-the-
line external
flash unit for
the Alpha.
This flash automatically adjusts for
built-in slide-out diffuser panel bo
coverage manually, if you like. The
light forward even when bouncing
catch light in the eyes of your portr
Bouncing is particularly convenien
shift bounce” system. This configur
pictures. With most other on-came
era vertically, the flash is oriented
bouncing off the ceiling (or, wall, w
pivoting system allows re-orienting
so flash coverage is still horizontal,
The 15.6 ounce unit uses convenie
nected to the FA-EB1AM external b
has room for 6 AA batteries for incr
communicates white balance inform
WB to match the flash output.
You can even simulate a modeling
unit can be rotated for flash mode
power flashes at a rate of two flash
(but more power-consuming) mode
(160 continuous mini-bursts in all)
all flash operations except for the L
Use this when you want to take a fe
your flash or change its settings.
The HVL-F58AM can function as
compatible flash unit. The preflash
remote, wireless flash unit that ha
When using flash wirelessly, Sony r
is pointed where you want the ligh
directed at the flash mounted on th
three groups of flashes, and specify
way to control the lighting ratios o
Those who are frustrated by an ina
1/250th second will love the High S
HVL-F36AM flash. When activate
from 1/500th to 1/8,000th second!
and a very wide aperture to apply s
overexposure when using flash. Th
choose either TTL or Manual flash
r focal length settings from 24mm to 105mm, and a

oosts wide-angle coverage to 16mm. You can zoom
ere’s also a slide-out “white card” that reflects some
the flash off the ceiling, to fill in shadows or add a
rait subjects.
nt and effective, thanks to what Sony calls a “quick
ration is particularly effective when shooting vertical
era external flash units, as soon as you turn the cam-
vertically, too, whether you’re using direct flash or
when the camera is rotated). The HVL-58AM’s clever
the flash when the camera is in the vertical position,
and can be tilted up or down for ceiling bounce.
ent AA batteries in a four-pack, but can also be con-
battery adapter (you just blew another $250), which
reased capacity and faster recycling. It automatically
mation to your camera, allowing the Alpha to adjust
light effect. A test button on the back of the flash

(one test flash, with no modeling light); three low-
hes per second, as a rough guide; and a more useful
e that flashes for 40 flashes per second for 4 seconds
). This switch also has a HOLD position that locks
LCD data display on the flash, and the test button.
ew pictures without flash, but don’t want to turn off
s a main flash, or be triggered wirelessly by another

h from the second “main” flash is used to trigger the
s been removed or disconnected from the camera.
recommends rotating the unit so that the flashtube
ht to go, but the front (light sensor) of the flash is
he camera. In wireless mode, you can control up to
the output levels for each group, giving you an easy
of multiple flash units.
ability to use a shutter speed faster than 1/200th or
Speed Sync (HSS) mode offered by this unit and the
ed, you can take flash pictures at any shutter speed
For example, if you want to use a high shutter speed
selective focus to a subject, HSS is one way to avoid
he mode button on the back of the flash is used to
h exposure. Once the flash mode is chosen, then use
the Select button and flash plus/minus keys to activa

data panel of the flash, and an indicator appears on
HSS is not available when using the 2-second self-ti
Keep in mind that because less than the full duration
each portion of the image as it is exposed by the slit
effective flash range of this “reduced” output is smalle
when using multiple flash or left/right/up bounce
downwards, say, at a close-up subject, HSS can be u
Another feature I like is the HVL-F58AM’s multipl
create interesting stroboscopic effects with several im
in the same frame, as you can see in Figure 7.12. If
tances of more than a few feet, however, you’ll need t
Alpha, as the output of each strobe burst is significa
for single shots.
otography
ate HSS mode. HSS appears on the

the camera’s LCD monitor. (Note:
imer or rear sync mode.)
n of the flash is being used to expose
t passing in front of the sensor, the
er. In addition, HSS cannot be used
flash. (If you’re pointing the flash
used.)
le flash feature, which allows you to
mages of the same subject presented
f you want to shoot subjects at dis-
to crank up the ISO setting of your
antly less than when using the flash
Figure 7.12
Stroboscopic
lighting allows
taking several
pictures in one
frame.
This less pricey ($299) electronic fla
F58AM, but has a lower guide num
ured out that the model numbers
meters, so the power rating of the H
prise to you.)
The shared features include high sp
automatic zoom with the same cov
diffuser). This unit also can be used
a preflash signal. Bounce flash swiv
degrees up, 90 degrees left, and 180
ings, walls, or persons wearing large
is a tad lighter than its bigger siblin

The guide number for this lower
(meters/feet). Although (relatively) t
such as wireless operation, auto zoo
flexibility is reduced a little, with no
ment of up to 90 degrees available. L

The least expensive Sony flash (see
budget conscious, especially those w
Figure 7.13
The HVL-
F20AM flash
unit is com-
pact and
inexpensive.
t
ash shares many of the advanced features of the HVL-
mber of 42/138 (meters/feet). (By now, you’ve fig-
of Sony’s electronic flash units include the GN in
HVL-F36AM, described next, will not come as a sur-
peed sync, automatic white balance adjustment, and

verage from 24-105mm (16mm with the slide-out
in wireless mode to operate other Sony strobes using
veling is still versatile, with adjustable angles of 90
0 degrees right, so you can reflect your flash off ceil-
e items of clothing in light colors. The HVL-F42AM
ng, at 12 ounces.
t
cost ($199) Sony flash unit is (surprise!) 36/118
tiny at 9 ounces, you still get some big-flash features,
om, and high speed sync capabilities. Bounce flash
swiveling from side to side and only a vertical adjust-
Like its four siblings, this one uses four AA batteries.
t
e Figure 7.13) is this one, designed to appeal to the
who need just a bit of a boost for fill flash, or want
a small unit (just 3.2 ounces) on their camera. It has

and features simplified operation. For example, ther
providing Indoor and Outdoor settings (the indoo
provide bounce light; with the outdoor setting, the
There are special modes for wide-angle shooting (us
flash’s coverage to that of a 27mm lens) or choose th
coverage to that of a 50mm lens for illuminating m
While it’s handy for fill flash, owners of an Alpha A8
erful unit as their main electronic flash.
Setting Flash Exposure Compensa

It’s important to keep in mind how the Alpha came
(discussed in Chapter 4) works when you’re using el
compensation for both flash and continuous light so
the Recording menu 2 or press the FN button and us
compens. screen appears (see Figure 7.14) with its p
Press the multi-selector to the left or right, or use the
or increase flash exposure; then press the multi-selec
otography
s a guide number of 20 at ISO 100,

re’s a switch on the side of the unit
or setting tilts the flash upwards to
flash fires directly at your subject).
se the built-in diffuser to spread the
he Tele position to narrow the flash
more distant subjects.
850 will probably want a more pow-
ation
eras’ exposure compensation system
lectronic flash. To activate exposure
ources, choose Flash compens. from
se the Quick Navi screen. The Flash
plus/minus scale.
e front or rear control dial, to reduce
ctor’s center button to confirm your
Figure 7.14
Adjust flash
exposure using
this screen.
choice. If you’ve made a flash comp
sation will be indicated by a poin
Detailed recording information dis
minated in the viewfinder wheneve
hot shoe and turned on. (If no flash
play, even if you dialed in a positive
lify your flash compensation, retur
center of the scale.
Setting Flash Mode

The Flash mode option is the first e
3. The functions of this menu entr
nal flash unit, although you can set
attached. You can also set flash mo
Navi screen. With either method, t
■ Autoflash. This setting fires th
or when your subject is backlit.
to the Auto position.
■ Fill flash. When this setting is a
ter release is pressed, even unde
adjust the output of the flash s
provide fill lighting is released.
■ Rear sync. This mode fires the
producing “trailing” ghost imag
secondary exposure. I discussed
■ Wireless. In this mode, the m
more additional external flash
the additional flash units.
More Advanced Light

As you advance in your Sony Alph
cated lighting techniques, using mo
flash unit. Entire books have been w
complex lighting setups, you migh
Snap Guide to Lighting, available fro
I’m going to provide a quick intro
considering.
pensation adjustment, the amount of your compen-

nter in the lower half of the exposure scale in the
splay, and the flash compensation icon will be illu-
er a compatible flash unit is attached to the camera’s
h is attached, the setting will not show up on the dis-
or negative amount of flash compensation.) To nul-
rn to this menu entry and return the pointer to the
entry on Recording menu 2, as described in Chapter

ry are applied only when you’ve connected an exter-
t some of the options regardless of whether a flash is
odes by pressing the Fn button to display the Quick
the available options include the following:
he attached flash when lighting conditions are dark,
. It is available only when the mode dial has been set
activated, the attached flash fires every time the shut-

er bright lighting conditions. The TTL exposure will
so that only the amount of illumination needed to
. (See Figure 7.15.)
e flash just before the second curtain begins to close,
ges if the ambient lighting is sufficient to produce a
d these “ghost” images earlier in the chapter.
main flash attached to the camera will trigger one or
units wirelessly, using a preflash to set and control
ting Techniques
ha photography, you’ll want to learn more sophisti-
ore than just straight-on flash, or using just a single
written on lighting techniques. (If you’re really into
ht want to check out my book, David Busch’s Quick
om the same folks who brought you this guidebook.)
oduction to some of the techniques you should be
otography
Figure 7.15
The flamingo
(top) was in
shadow. Fill
flash (bottom)
brightened up
the bird, while
adding a little
catch light to
its eye.
Diffusing and Softening
Direct light can be harsh and glarin
camera, or an auxiliary flash mount
ject. The first thing you should do
stark, contrasty appearance as a cre
you can do with both continuous a
■ Use window light. Light comin
choice for human subjects. Mo
light provides the primary sour
lights in the room, particularly
Figure 7.16).
Figure 7.16
Window light
makes the
perfect diffuse
illumination
for informal
soft focus
portraits like
this one.
g the Light
ng, especially if you’re using the flash built into your
ted in the hot shoe and pointed directly at your sub-
is stop using direct light (unless you’re looking for a
eative effect). There are a number of simple things
and flash illumination.
ng in a window can be soft and flattering, and a good
ove your subject close enough to the window that its
rce of illumination. You might want to turn off other
to avoid mixing daylight and incandescent light (see
■ Use fill light. A flash unit attached to your A8

the shadows, brightening inky depths with a kick
shown earlier).
■ Bounce the light. All the Sony flashes have a sw
up at a ceiling for a bounce light effect. As I not
light off a wall. You’ll want the ceiling or wall
color to avoid a color cast.
■ Use reflectors. Another way to bounce the lig
that you can position yourself to provide a great
tity and direction of the bounced light. Good ref
Mylar, or a reflective disk held in place by a clam
sive umbrellas and reflectors are available, spen
piece of white foamboard does the job beautiful
being compact and foldable, while providing a s
atively cheap, too, with a good 40-inch umbrell
■ Use a diffuser. Sto-fen (www.stofen.com) make
series flash units. This simple device (see Figure 7
flash or bounce.
■ Try a soft box. Inexpensive attachments like the
vide the equivalent of a miniature photo studi
smaller, more convenient size.
Figure 7.17 Sto-fen’s Omni-Bounce diffuser is

available for Sony electronic flash units.
otography
850 makes a perfect fill-in light for

ker of illumination (see Figure 7.15,
wivel that allows them to be pointed

ted, two of them let you bounce the
to be white or have a neutral gray
ght is to use reflectors or umbrellas

ter degree of control over the quan-
flectors can be pieces of foamboard,
mp and stand. Although some expen-
nding a lot isn’t necessary. A simple
lly. Umbrellas have the advantage of
soft, even kind of light. They’re rel-
la available for as little as $20.
es a clip-on diffuser for Sony HVL-
7.17) creates a softer light for direct
e one shown in Figure 7.18 can pro-

io “soft box,” although in a much
Figure 7.18 Soft boxes use Velcro strips to attach to

third-party flash units (like the one shown) or any Sony
external flash.
Using Multiple Light So
Once you gain control over the qua
you’ll want to graduate to using mu
to shape and mold the illumination
backlighting to side lighting to mor
several incandescent light sources,
struct. Or you can use more flexibl
Effective lighting is the one elemen
or snapshot shooting. Lighting can
orous; it can make subjects appear
sparkly when you want a vivid look
you might guess, having control ov
the lights that are already in the ro
that can be moved, aimed, brighten
Selecting your lighting gear will de
budget you have to support it. It’s e
to create a basic, inexpensive lighti
for a few hundred dollars, just as
sophisticated lighting system.
Basic Flash Setups

If you want to use multiple electron
will serve admirably. The two highe
ture, which allows you to set up to
can be included in each group) and
Just set up one master unit and arra
You can set the relative power of eac
the scene’s illumination comes from
flash units, which can be used as fill
minate the hair of portrait subjects
Studio Flash
If you’re serious about using multi
practical. The traditional studio flas
mounts on your light stand, and is t
ply. A single power supply can feed t
trol over the output of each head.
When they are operating off AC pow
and are often powerful enough to ill
ources
alities and effects you get with a single light source,
ultiple light sources. Using several lights allows you
n of your subjects to provide a variety of effects, from
re formal portrait lighting. You can start simply with
bounced off umbrellas or reflectors that you con-
le multiple electronic flash setups.
nt that differentiates great photography from candid
n make a mundane subject look a little more glam-
to be soft when you want a soft look, or bright and
k, or strong and dramatic if that’s what you desire. As
ver your lighting means that you probably can’t use
oom. You’ll need separate, discrete lighting fixtures
ned, and dimmed on command.
epend on the type of photography you do, and the
entirely possible for a beginning Alpha photographer
ing system capable of delivering high quality results
you can spend megabucks ($1,000 and up) for a
nic flash units, the Sony flash units in wireless mode

er-end models can be used with Sony’s wireless fea-
o three separate groups of flash units (several flashes
d trigger them using a master flash and the camera.
ange the compatible slave units around your subject.
ch unit separately, thereby controlling how much of
m the main flash, and how much from the auxiliary
l flash, background lights, or, if you’re careful, to illu-
s.
iple flash units, a studio flash setup might be more

sh is a multi-part unit, consisting of a flash head that
tethered to an AC (or sometimes battery) power sup-
two or more flash heads at a time, with separate con-
wer, studio flash don’t have to be frugal with the juice,

luminate very large subjects or to supply lots and lots
of light to smaller subjects. The output of such unit

so you could purchase a 200ws, 400ws, or 800ws un
Their advantages include greater power output, mu
ing lamps, multiple power levels, and ruggedness tha
many photographers pack up these kits and tote the
Studio lighting kits can range in price from a few
stands, and reflectors, to thousands for a high-end lig
necessary accessories.
A more practical choice these days are monolights (s
one” studio lights that sell for about $200-$400. T
light, and power supply built into a single unit that
Monolights are available in AC-only and battery-p
battery eliminates some of the advantages of having
They are very portable, because all you need is a cas
stands and other accessories you want to carry along
lar with photographers who are not full-time profes
are often designed more for lighter duty than prof
mean they aren’t rugged; you’ll just need to handle
perhaps, not expect them to be used eight hours a d
respects, however, monolights are the equal of tradit
fast recycling, built-in modeling lamps, adjustable p
otography
ts is measured in watt seconds (ws),

nit, and a power pack to match.
uch faster recycling, built-in model-
at can stand up to transport, because
em around as location lighting rigs.
hundred dollars for a set of lights,
ghting system complete with all the
see Figure 7.19), which are “all-in-

They have the flash tube, modeling
t can be mounted on a light stand.
pack versions, although an external
a flash with everything in one unit.
se for the monolight itself, plus the
g. Because these units are so popu-
ssionals, the lower-cost monolights
fessional studio flash. That doesn’t
them with a little more care, and,
day for weeks on end. In most other
tional studio flash units in terms of
power, and so forth.
Figure 7.19
All-in-one
“monolights”
contain flash,
power supply,
and a modeling
light in one
compact pack-
age (umbrella
not included).
Other Lighting Accesso
Once you start working with light,
can help you. Here are some of the
Soft Boxes
Soft boxes are large square or rectan
with a front cover, and produce a s
feet square to massive boxes that sta
a flash unit or two inside a soft box,
that’s very diffuse and very flatterin
Soft boxes are also handy for photog
light, but if the box itself happens t
chromium toaster), the box will pr
not distracting.
You can buy soft boxes, like the on
lengths of friction-fit plastic pipe a
that you need.
Light Stands
Both electronic flash and incandesc
lightweight, tripod-like devices (bu
on the floor, tabletops, or other ele
using these stands for a lifetime, so
in Figure 7.21 when I was in colleg
Figure 7.20 Soft boxes provide a

large, diffuse light source.
ories
you’ll find there are plenty of useful accessories that
e most popular that you might want to consider.
ngular devices that may resemble a square umbrella

similar lighting effect. They can extend from a few
and five or six feet tall—virtually a wall of light. With
, you have a very large, semi-directional light source
ng for portraiture and other people photography.
graphing shiny objects. They not only provide a soft
to reflect in the subject (say you’re photographing a
rovide an interesting highlight that’s indistinct and
ne shown in Figure 7.20, or make your own. Some

and a lot of muslin cut and sewed just so may be all
cent lamps can benefit from light stands. These are

ut without a swiveling or tilting head) that can be set
evated surfaces and positioned as needed. You’ll be
invest in good ones. I bought the light stand shown
ge, and I have been using it for decades. Light stands
Figure 7.21 Light stands can hold lights,

umbrellas, backdrops, and other equipment.
should be strong enough to support an external light

atively heavy flash with soft box or umbrella reflec
capable of raising the lights high enough to be effec
of extending six to seven feet high. The nine-foot uni
and extend high enough that you can use them as b
Backgrounds
Backgrounds can be backdrops of cloth, sheets of m
a sponge dipped in paint, rolls of seamless paper, or a
can dream up. Backgrounds provide a complementa
subjects (especially portraits) and can be lit separate
tion that outlines the subject, or which helps set a m
I like to use plain-colored backgrounds for portrait
for product photography. You can usually construc
cheap materials and tape them up on the wall behin
a pole stretched between a pair of light stands.
Snoots and Barn Doors

These fit over the flash unit and direct the light at yo
converting a flash unit into a hair light, while barn d
the illumination by opening and closing their flaps
background light, with the capability of feathering t
Barn doors are shown in Figure 7.22.
otography
ting unit, up to and including a rel-

ctors. You want the supports to be
ctive. Look for light stands capable
its usually have larger, steadier bases,
background supports.
muslin you’ve painted yourself using

any other suitable surface your mind
ary and non-distracting area behind
ely to provide contrast and separa-
mood.
ts, and white seamless backgrounds
ct supports for these yourself from
nd your subject, or mount them on
our subject. Snoots are excellent for

doors give you enough control over
that you can use another flash as a
the light exactly where you want it.
Figure 7.22
Barn doors
allow you to
modulate the
light from a
flash or lamp,
and they are
especially use-
ful for hair
lights and
background
lights.
Do
Editin
Taking the picture is only half the
you’ve captured some great images
memory card, you’ll need to transfe
computer, where they can be organi
web display, printing, or some othe
Fortunately, there are lots of softwa
things. This chapter will introduce
do-it” or instructions on using the so
than a software manual. My intent
available, to help you choose what
What’s in the Box?

Sony includes four basic software u
Picture Motion Browser (compatib
(for Windows and Macs), Remote
Image Data Converter SR (supplie
Install them using the CD supplie
importing utility that collects imag
bilities for making minor fixes. Ima
ing and workflow manager; Remot
while tethered to a personal compu
for importing and manipulating RA
8
ownloading and
ng Your Images
e work and, in some cases, only half the fun. After
s and have them safely stored on your Sony Alpha’s
er them from your camera and memory card to your
ized, fine-tuned in an image editor, and prepared for
er final destination.
are utilities and applications to help you do all these
you to a few of them. Don’t expect a lot of “how-to-
oftware itself. This is primarily a camera guide, rather
t in this chapter is to let you know what options are
is right for you.
utilities with the Alpha DSLR-A850. They are the

ble with Windows only), Image Data Lightbox SR
e Camera Control, (for Windows and Macs), and
ed for both Windows and Mac operating systems).
ed with the camera. Picture Motion Browser is an
ges into folders and offers some simple editing capa-
age Data Lightbox is a more advanced image brows-
te Camera Control allows you to operate your A850
uter. Image Data Converter SR is a sophisticated tool
AW images.
Picture Motion Browser

This tool, supplied with a variety of Sony camera
devices, works with both still images and video file
but Mac users can get most of its functions in iPho
computer by dragging and dropping image files as d
Photos” section that follows. Once you’ve imported/
they are displayed either in a folder view (see Figu
arranges the photos by the date they were taken. Yo
map view.
Figure 8.1 Picture Motion Browser displays thumbnails of

the date the picture was taken.
otography
as, camcorders, and other imaging

es. It is available for Windows only,
oto, and can import images to their
described in the “Transferring Your
/registered images with this browser,
ure 8.1) or in a calendar view that
ou can also tag images to open in a
f images in both folder view and arranged in a calendar by

Double-click a thumbnail to display
tools for trimming, rotating, adjust
saturation, adjusting sharpness, man
tion. You can also put the date on y
the photos in a folder as a slide show
printing or e-mailing.
Picture Motion Browser has a photo
tivate in the Tools menu. As image
your My Pictures folder and are na
with a different name that you spec
Figure 8.2
Simple editing
fixes can be
applied within
Picture Motion
Browser.
Chapter 8 ■ Downloading and Editing Your Images 247
y it in an editing window (see Figure 8.2), along with

ting brightness and contrast, enhancing or reducing
nipulating tonal curves, and activating red-eye reduc-
your photo. Picture Motion Browser can display all
w, burn them to a CD or DVD, and mark them for
o-downloading utility that you can activate or deac-

es are imported, they are moved into a folder within
amed after the import date, or deposited in a folder
cify.
Image Data Lightbox SR

This is a newer application than Picture Motion Br
original Alpha DSLR-A100, for example) and is be
paring images than the older program. It’s no Adobe
that matter), but the price—free—is right. The app
even when still in RAW format, and apply star ratin
shots from a group of similar images (as shown in F
photo library. You can choose to view the images a
Display format which features a line of images and o
creating image collections, batch printing, and conve
mat. To manipulate RAW files, you need Image Da
If you’re using Remote Camera Control to take pi
computer, you can request that the remote control
Image Data Lightbox as it is taken, so you can ev
immediately.
Figure 8.3 Image Data Lightbox SR helps you manage you

otography
rowser (it wasn’t furnished with the

etter for viewing, sorting, and com-
e Lightroom (or Apple Aperture, for
plication lets you compare images,
ngs, so you can segregate your best
Figure 8.3) while you manage your
as all thumbnails or in the Preview
one large image. It includes tools for
erting photos to JPEG or TIFF for-
ata Converter SR, discussed later.
ictures with an A850 tethered to a
l application load each photo into
valuate, sort, and compare images
ur picture collection.
Remote Camera Contro
This utility lets you control your A
sonal computer (either PC or Mac
Alpha to focus, and then take a pict
are taken, you can direct RCC to lo
To use the software, just follow the
1. Access the Setup menu 2 and n
2. Select the Remote PC Connect
3. Connect the camera to your PC
4. If the Remote Camera Control
your computer’s Program/All P
5. A dialog box like the one shown
ber of different audio/imaging
work scanner, attached scann
choices. Select your Alpha A85
Figure 8.4
These dialog
boxes allow you
to control your
camera
remotely.
ol
A850 through a USB cable connected to your per-
c). It’s easy to adjust settings of the camera, tell the
ture. While you can’t preview the photos before they
oad each one into Image Data Lightbox for review.
ese steps:
navigate to USB connection.
tion option.
C or Mac using the supplied USB cable.
l utility doesn’t appear automatically, launch it from
Programs menu or from the Mac Applications folder.
n at left in Figure 8.4 will appear. If you have a num-
g devices connected to your computer, like the net-
ner, and MP3 player I use, they may be shown as
50 and click OK.
6. The controller dialog box, shown at right in Fig

7. Adjust any settings you want to change.
8. To take a picture, click the “shutter release” but
a red dot).
9. The A850 will take a picture and save it to the
the dialog box. If you check the Open In Image
will be downloaded from the camera and opene
Image Data Converter SR

This RAW converter is Sony’s equivalent of Adobe
ARW files are converted, they can be transferred to
such as Corel Paint Shop Pro, rather than just to
Elements.
Like all RAW converters, Image Data Converter S
change any of the settings you could have made in t
of additional settings, such as tonal curves, that you c
the photo. Making these changes after the picture is t
otography
gure 8.4, pops up.
tton (it’s shown at upper right with
folder you specify at the bottom of

e Data Lightbox SR box, the photo
ed in the Lightbox application.
e Camera Raw, except that as your

o the image editor of your choice,
o Adobe Photoshop or Photoshop
SR (see Figure 8.5) enables you to

the camera, plus modify a selection
can’t normally adjust when you take
taken enables you to fine-tune your
Figure 8.5
Image Data
Converter SR
lets you man-
age any of the
in-camera set-
tings as RAW
files are
imported—as
well as many
other options.
images, correct errors you might h
such as color balance that the came
This program includes four Adjustm
log boxes with sliders and other adj
value (EV) adjustment settings, co
histogram, which can, optionally, di
than the simple brightness (lumin
Histogram/C button during playba
Palette 1 is used for adjusting and s
uration; Palette 2 is used to modify
settings; Palette 3 makes it easy to se
noise reduction, and picture effects
play area, histograms, and tone curv
areas shown at right in Figure 8.5.)
The Image Properties dialog box,
view a complete listing of all the s
photo, such as lens, f/stop, shutter
all be changed within Image Data C
editor.
Figure 8.6
Check out
your original
settings in
the Image
Properties
dialog box.
have made when you shot the photo, and fix things
era (or you) might have set incorrectly.
ment palettes that enable you to invoke specific dia-
justments. For example, there are separate exposure
ontrast and saturation settings, and a three-channel
isplay separate red, green, and blue histograms rather
nance) histogram shown in the camera. Press the
ack to view the histograms.
setting white balance, color correction, hue, and sat-
y exposure, contrast, D-Range Optimizer, and other
et Creative Style adjustments, and specify sharpness,
s, etc.; Palette 4 is where you’ll find controls for dis-
ves. (On the Mac, you’ll find only the 12 adjustment
)
shown in Figure 8.6, has an icon you can click to
settings you applied when you originally took the
speed, ISO setting, and metering mode. These can
Converter SR as the files are imported for your image
Transferring Your Photos

While it’s rewarding to capture some great images
camera, eventually you’ll be transferring them to y
using a Windows or Macintosh machine. You have
direct transfer over a USB cable; automated transfe
software such as the Sony Import Media Files utility
Browser and Image Data Converter SR applications,
Downloader; or manual transfer using drag and dro
a card reader.
If you want to transfer your photos directly from you
puter, you’ll first need to visit Setup menu 2 to m
option is set to Mass Storage. That allows your comp
in your computer as just another external drive, as
thumb/flash drive. While this method consumes a lo
reader option discussed later, and may be quite a bit
you have the USB cable handy) and easy. Just follow
1. With the Alpha’s USB connection option set to
computer on.
2. Open the Video-Out/USB terminal door and
USB cable into the camera.
Then, plug the larger cable plug into a USB soc
3. If you’re using Windows, its Autoplay Wizard m
ing a selection of downloading utilities (inclu
Camera Wizard, Adobe Photo Downloader, and
Mac OS X offers similar options.
4. Use the options in the downloading utility you
ify automatic red-eye correction, rename your f
select, or even view thumbnails of the available
ones you want.
5. Activate the download process.
Using a Card Reader and Softwar

You can also use a memory card reader and softwar
the process using any of the downloading applicati
The process is similar to downloading directly from
remove the memory card from the Alpha camera and
attached to your computer.
otography
and have them ensconced in your

your laptop or PC, whether you’re
e three options for image transfer:
er using a card reader and transfer
that is a part of the Picture Motion
, Adobe Photoshop Elements Photo
op from a memory card inserted in
ur Sony Alpha camera to your com-

make sure that the USB connection
puter to recognize the memory card
if the camera were a hard drive or
ot more battery power than the card-
t slower, it is convenient (assuming
w these steps:
Mass Storage, turn the camera and
plug the smaller connector of the
cket on your computer.

may pop up (see Figure 8.7), offer-
uding the Windows Scanner and
d the Media Importer). Choose one.
u selected. You may be able to spec-

files, place your files in a folder you
e images so you download only the
re
re to transfer photos and automate
ions available with your computer.
m the camera, except that you must
d insert it into a memory card reader
Where USB-to-computer transfers
card readers can be potentially much
camera’s battery and can be faster if
attached to an appropriate port. I ha
FireWire 800 card reader, and I get
old USB card reader.
The installed software automaticall
when a memory card is inserted in
self. You’ll see the Import Media Fi
eral competing downloaders will po
shown earlier. If that happens, you m
your utility of choice will take prec
With Photoshop Elements’ Photo D
file renaming and folder location, a
images immediately. (See Figure
options, such as the ability to select
by marking them on a display of
Automatically Fix Red Eyes, or ins
download by clicking Get Photos, a
8.10 shows the progress.
Figure 8.7 Windows Autoplay Wizard

allows you to choose which utility to use to
transfer your photos.
s are limited to the speed of your USB connection,

h faster. This method is more frugal in its use of your
f you have a speedy USB 2.0 or FireWire card reader
ave FireWire 800 ports in my computer, and a Lexar
roughly four times the transfer speed I got with my
ly remains in memory as you work, and it recognizes

your card reader; you don’t have to launch it your-
Files dialog box (see Figure 8.8), or, sometimes, sev-
op up at once, such as the Windows Autoplay Wizard
may want to disable the superfluous downloaders so
cedence.
Downloader, you can choose basic options, such as
and then click Get Photos to begin the transfer of all
8.9.) Or choose Advanced Dialog for additional
t which images to download from the memory card
thumbnails. You can select other options, such as
serting a copyright notice of your choice. Start the
and a confirmation dialog box like the one in Figure
Figure 8.8 The Import Media Files utility is installed

automatically with the Sony software suite.
Figure 8.9 With Basic view activated, Photoshop

Elements’ Photo Downloader allows you to choose a file
name and destination for your photos.
Dragging and Dropping

The final way to move photos from your memory
fashioned way: manually dragging and dropping th
computer to another. The procedure works pretty m
a Mac or a PC.
1. Remove the memory card from the Sony Alpha
reader. (Make sure the USB connection optio
Storage.)
2. Using Windows Explorer, My Computer, Com
the icon representing the memory card, which
another disk drive.
3. Open a second window representing the folder o
use as the destination for the files you are copyi
4. Drag and drop the files from the memory card w
puter. You can select individual files, press Ctrl/
or Ctrl/Command+click to select multiple files
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Figure 8.10 The Photo Downloader’s confirmation

dialog box shows the progress as images are
transferred.
card to your computer is the old-

he files from one window on your
much the same whether you’re using
a and insert it in your memory card

on in Setup menu 2 is set to Mass
mputer, or your Mac desktop, open

h appears on your desktop as just
on your computer that you want to

ing or moving.
window to the folder on your com-
/Command+A to select all the files,
s.
Editing Your Photos
Image manipulation tasks fall into s
images, retouch them, change color
form other tasks we know as imag
Photoshop Elements, or Corel Pho
You might want to play with the se
their ARW state into an image edito
RAW files, ranging from Sony’s ow
and PhaseOne’s Capture One 5 Pro
cialized task of noise reduction, w
Camera Raw, or tools like Bibble P
noise reduction, such as Noise Nin
Each of these utilities and applicatio
to enumerate some of the most pop
here and tell you a little about wha
Image Editors
Image editors are general purpose p
tion, tonal modifications, retouchin
ally include tools for working wi
programs like those listed here goo
programs are as follows:
■ Adobe Photoshop/Photoshop
number one choice for image ed
who need most of Photoshop’s
Both Photoshop and Elements
plug-in, which makes it easy to
(either 8 bits or 16 bits per col
sure, shadows, brightness, sha
with the Adobe products is th
Windows and Macs.
■ Corel Photo Paint. This is the
ular CorelDRAW Graphics suit
this is exclusively a Windows a
ing and image-editing program
manual image manipulations, a
for a few common tasks, such
plug-ins to expand its assortme
several categories. You might want to fine-tune your

balance, composite several images together, and per-
ge editing, with a program like Adobe Photoshop,
oto Paint.
ettings in RAW files, too, as you import them from
or. There are specialized tools expressly for tweaking
wn Digital Image Converter to Adobe Camera Raw,
o (C1 Pro). A third type of manipulation is the spe-
which can be performed within Photoshop, Adobe
Professional. There are also specialized tools just for
nja (also included with Bibble) and Neat Image.
ons deserves a chapter of its own, so I’m simply going
pular image editing and RAW conversion programs
at they do.
photo-editing applications that can do color correc-

ng, combining of several images into one, and usu-
th RAW files and reducing noise. So, you’ll find
od for all-around image manipulation. The leading
p Elements. Photoshop is the serious photographer’s

diting, and Elements is an excellent option for those
s power, but not all of its professional-level features.
editors use the latest version of Adobe’s Camera Raw
o adjust things like color space profiles, color depth
lor channel), image resolution, white balance, expo-
arpness, luminance, and noise reduction. One plus
hat they are available in identical versions for both
e image-editing program that is included in the pop-

te. Although a Mac version was available in the past,
application today. It’s a full-featured photo retouch-
m with selection, retouching, and painting tools for
and it also includes convenient automated commands
as red-eye removal. Photo Paint accepts Photoshop
ent of filters and special effects.
■ Corel Paint Shop Pro. This is a general purpos

has gained a reputation as the “poor man’s Pho
portion of Photoshop’s capabilities at a fraction
wizard-like commands that automate common
scratches, as well as filters and effects, which can
plug-ins.
■ Corel Painter. Here’s another image-editing pro
Windows. This one’s strength is in mimicking n
tels, and various kinds of paint. Painter includes
can use to edit existing images, but the program
in creating original illustrations. As a photograph
editor, but if you like to paint on top of your p
really does the job of Painter.
■ Corel PhotoImpact. Corel finally brought one
image editors into its fold when it acquired Pho
photo-editing program for Windows with a hug
ing, retouching, and cloning in addition to the
tools. If you frequently find yourself performing
a number of files, you’ll appreciate PhotoImpac
ture, you can select multiple image files and the
ters, enhancements, or auto-process commands
RAW Utilities
Your software choices for manipulating RAW files
Camera vendors always supply a utility to read their
times, particularly with those point-and-shoot camer
options are fairly limited.
Because in the past digital camera vendors offered
good, there is a lively market for third-party RAW
third-party solutions are usually available as stand
Windows and Macintosh platforms), as Photosh
Because the RAW plug-ins displace Photoshop’s ow
to use most RAW utilities in standalone mode. T
directly in Photoshop, it automatically opens using
Adobe Camera Raw (ACR) plug-in. If I have mor
another converter, I can load that, open the file, and
are able to transfer the processed file directly to Phot
in mode.
otography
se Windows-only image editor that

otoshop” for providing a substantial
of the cost. It includes a nifty set of
tasks, such as removing red eye and
be expanded with other Photoshop
ogram from Corel for both Mac and

natural media, such as charcoal, pas-
a basic assortment of tools that you
m is really designed for artists to use
her, you might prefer another image
photographic images, nothing else
e of the last remaining non-Adobe

otoImpact. This is a general purpose
ge assortment of brushes for paint-
e usual selection, cropping, and fill
g the same image manipulations on
ct’s batch operations. Using this fea-
en apply any one of a long list of fil-
s to all the selected files.
are broader than you might think.

cameras’ own RAW files, but some-
ras that can produce RAW files, the
RAW converters that weren’t very

utilities available at extra cost. The
dalone applications (often for both
hop-compatible plug-ins, or both.
wn RAW converter, I tend to prefer
That way, if I choose to open a file
g Photoshop’s fast and easy-to-use
re time or need the capabilities of
d make my corrections there. Most
toshop even if you aren’t using plug-
The latest version of Photoshop incl
the proprietary formats of a growin
it’s continually updated to embrace
also works with Photoshop Elemen
To open a RAW image in Photosh
much the same workflow, although
1. Transfer the ARW images from
2. In Photoshop, choose Open fro
3. Select an ARW image file. The
a preview of the image, like the
Figure 8.11 The basic ACR dialog box looks like this whe
ludes a built-in RAW plug-in that is compatible with

ng number of digital cameras, both new and old, and
e any new cameras that are introduced. This plug-in
nts.
hop, just follow these steps (Elements users can use
h fewer settings are available):
m your camera to your computer’s hard drive.
om the File menu, or use Bridge.
e Adobe Camera Raw plug-in will pop up, showing
e one shown in Figure 8.11.
en processing a single image.

4. If you like, use one of the tools found in the t

box. From left to right, they are as follows:
■ Zoom. Operates just like the Zoom tool in P
■ Hand. Use like the Hand tool in Photoshop.
■ White Balance. Click an area in the image th
to set the white balance quickly.
■ Color Sampler. Use to determine the RGB
eyedropper.
■ Crop. Pre-crop the image so that only the po
Photoshop. This option saves time when you w
image, and you don’t need the entire file.
■ Straighten. Drag in the preview image to def
vertical line, and ACR will realign the image
■ Retouch. Use to heal or clone areas you defin
■ Red-Eye Removal. Quickly zap red pupils in
■ ACR Preferences. Produces a dialog box of A
■ Rotate Counterclockwise. Rotates counterc
with a click.
■ Rotate Clockwise. Rotates clockwise in 90-d
5. Using the Basic tab, you can have ACR show y
preview that indicate shadow areas that are clip
light areas that are blown out (too bright). Click
ner of the histogram display (shadow clipping)
clipping) to toggle these indicators on or off.
6. Also in the Basic tab you can choose white balan
or by setting a color temperature and green/m
sliders.
7. Other sliders are available to control exposure,
ness, contrast, vibrance, and saturation. A check
image to grayscale.
8. Make other adjustments (described in more det
9. ACR makes automatic adjustments for you. Yo
changes for yourself, or click the Auto link (loca
to reapply the automatic adjustments after you’
otography
toolbar at the top left of the dialog
Photoshop.
.
hat should be neutral gray or white
values of areas you click with this
ortion you specify is imported into

want to work on a section of a large
fine what should be a horizontal or

to straighten it.
ne.
n your human subjects.
Adobe Camera Raw preferences.
clockwise in 90-degree increments
degree increments with a click.

you red and blue highlights in the
pped (too dark to show detail) and
k the triangles in the upper-left cor-
) and upper-right corner (highlight
nce, either from the drop-down list

magenta color bias (tint) using the
, recovery, fill light, blacks, bright-

kbox can be marked to convert the
tail below).
ou can click Default and make the
ated just above the Exposure slider)
’ve made your own modifications.
10. If you’ve marked more than on
in a “filmstrip” at the left side o
filmstrip in turn and apply diff
11. Click Open Image/Open imag
You can also click Save or Don
the file in your image editor.
The Basic tab is displayed by defau
most of the sliders and controls yo
into Photoshop. These include
■ White Balance. Leave it As Sh
Shade, Tungsten, Fluorescent, o
ance using the Temperature an
■ Exposure. This slider adjusts t
■ Recovery. Restores detail in th
■ Fill Light. Reconstructs detail
■ Blacks. Increases the number
emphasizing tones in the shado
■ Brightness. This slider adjusts
■ Contrast. Manipulates the con
■ Convert to Grayscale. Mark t
■ Vibrance. Prevents over-satura
■ Saturation. Manipulates the r
(gray/black, no color) at the –10
setting.
Additional controls are available o
Toning, Lens Corrections, Camera
The Tone Curve tab can change the
adjust sharpness, luminance smo
HSL/Grayscale tab offers controls f
verting an image to black-and-whi
sepia or cyanotype (blue) shades. Th
matic aberrations and vignetting. T
brating the color corrections made
shown) is used to load settings you’
ne image to be opened, the additional images appear

of the screen. You can click on each thumbnail in the
ferent settings to each.
ge(s) into Photoshop using the settings you’ve made.
ne to save the changes you’ve made without opening
ult when the ACR dialog box opens, and it includes

ou’ll need to fine-tune your image as you import it
hot or change to a value such as Daylight, Cloudy,

or Flash. If you like, you can set a custom white bal-
nd Tint sliders.
the overall brightness and darkness of the image.
he red, green, and blue color channels.
in shadows.
r of tones represented as black in the final image,
ow areas of the image.
the brightness and darkness of an image.
ntrast of the midtones of your image.
this box to convert the image to black-and-white.
ation when enriching the colors of an image.
richness of all colors equally, from zero saturation
00 setting to double the usual saturation at the +100
on the Tone Curve, Detail, HSL/Grayscale, Split

Calibration, and Presets tabs, shown in Figure 8.12.
e tonal values of your image. The Detail tab lets you
oothing, and apply color noise reduction. The
for adjusting hue, saturation, and lightness and con-
ite. Split Toning helps you colorize an image with
he Lens Corrections tab has sliders to adjust for chro-
The Camera Calibration tab provides a way for cali-
e in the Camera Raw plug-in. The Presets tab (not
u’ve stored for reuse.
Figure 8.12 More controls are available within the addition

otography
nal tabbed dialog boxes in Adobe Camera Raw.

Sony Alph
Troubl
One of the nice things about moder

have fewer mechanical moving part
transport mechanism, no wind leve
ages from camera to lens to physica
able motors are built into each le
something fail), and one of the few
weight mirror that flips up and dow
Of course, the camera also has a m
rugged enough that you can expec
you’re shooting sports in continuo
Alpha is likely to last as long as you
The only other things on the cam
door that slides open to allow you t
extraordinarily clumsy or unlucky, t
your Sony Alpha.
On the other hand, one of the chief
are modern electronic cameras. Your
the camera can’t be used. There are n
9
ha DSLR-A850:
leshooting and
Prevention
rn electronic cameras like the A850 series is that they
ts to fail, so they are less likely to “wear out.” No film
er or motor drive, no complicated mechanical link-
ally stop down the lens aperture. Instead, tiny, reli-
ens (and you lose the use of only that lens should
w major moving parts in the camera itself is a light-
wn with each shot.
moving shutter that can fail, but the shutter is built
ct it to last 100,000 shutter cycles or more. Unless
ous mode day in and day out, the shutter on your
u expect to use the camera.
era that move are switches, dials, buttons, and the
to remove and insert the memory card. Unless you’re
there’s not a lot that can go wrong mechanically with
drawbacks of modern electronic cameras is that they

r Alpha is fully dependent on its battery. Without it,
numerous other electrical and electronic connections
in the camera (many connected to those mechanica

nents like the 3-inch color LCD on the A850 that ca
The camera also relies on its “operating system,” or
bugs that cause unexpected behavior. Luckily, electro
reliable and trouble-free, especially when compared
from the pre-electronic film camera days. (Film cam
had almost as many electronic features as digital ca
were whole generations of film cameras that had no
Digital cameras have problems unique to their breed
the need to clean the sensor of dust and grime perio
how to diagnose problems, fix some common ills, an
them in the future.
Update Your Firmware

As I said, the firmware in your Sony Alpha is the cam
dles everything from menu display (including fonts,
selves), what languages are available, and even suppo
Upgrading the firmware to a new version makes it
fixing some of the bugs that sneak in.
If you’re a follower of the various Sony forums, p
(www.dpreview.com), you’ve probably seen the exch
A850 model (and its A900 full-frame stablemate) w
the first firmware update for either of those camer
users of the same cameras who find the endless spec
ther camera has had a firmware update since its intro
of an impending release, along with theories about
been endless.
I feel the pain, including that of one forum member
quated” firmware, but, when it comes to your cam
news is usually good news. As far as I am concerned
obvious bug, Sony can take as long as it likes to fine
pect are coming.
The exact changes made to the firmware are generally
announcement. You can examine the remedies prov
patch is important to you. If not, you can usually
through the bother of upgrading your firmware—
adopters to report whether the bug fixes have introd
new firmware release incorporates the changes from
minor upgrade you should have no problems.
otography
al switches and dials), and compo-

an potentially fail or suffer damage.
firmware, which can be plagued by
onic components are generally more
d to their mechanical counterparts
meras of the last 10 to 20 years have
ameras, but, believe it or not, there
electronics or batteries.)
d, too; the most troublesome being
odically. This chapter will show you
nd, importantly, learn how to avoid
mera’s operating system, which han-

colors, and the actual entries them-
ort for specific devices and features.
possible to add new features while
particularly the one at DP Review

hanges between Sony owners of the
who are agonizing over the wait for
ras, and the annoyed, but satisfied
culation distracting. Although nei-
oduction (as I write this), the rumors
t what changes will be made, have
r who was distressed at using “anti-

mera’s software operating system, no
d, if my camera isn’t crippled by an
e-tune the minor tweaks that I sus-
y spelled out in the firmware release

vided and decide if a given firmware
y safely wait a while before going
—at least long enough for the early
duced new bugs of their own. Each
m previous releases, so if you skip a
Chapter 9 ■
WARNING
Use a fully charged battery to ensure
for the entire upgrade. Moreover, yo
firmware is being overwritten. Don’t
might disrupt operation of the Alph
Sony has “hidden” the firmware ver

of the ordinary menu entries. Nor
in the manual (there’s no “firmwar
unearth this information by turnin
and then holding down the DISP b
the Menu button must be pressed f
era and firmware version, as shown
the shutter release, or hit the Men
firmware version installed in your c
is available.
To do that, visit the Sony support
provides updates and information a
Search box you can use to jump d
found that all you need to enter is “D
find a notice listing “Hot Topics” a
available, it will be listed as a link u
download the update.
Figure 9.1
Press the Menu
button and
DISP button to
show the cur-
rent firmware
version in your
camera.
■ Sony Alpha DSLR-A850: Troubleshooting and Prevention 263
e that you’ll have enough power to operate the camera

ou should not turn off the camera while your old
t open the memory card door or do anything else that
ha while the firmware is being installed.
rsion number, and doesn’t make it available from any

is the secret to seeing the firmware version obvious
re” entry in the manual’s index). But you can easily
ng your camera on, first pressing the Menu button,
button. (Do not press the buttons at the same time;
first.) A screen pops up with the name of your cam-
n in Figure 9.1. Press the multi-selector button, tap
nu button to dismiss this screen. Write down the
camera, and then check to see if a firmware update
site at www.esupport.sony.com. The support page

about a huge range of Sony products, but there is a
directly to the page for your particular camera. I’ve
DSLR-A850” to get to the correct page. There, you’ll
and other support information. If new firmware is
under the “Hot Topics” display. Follow the links and
Then follow these steps:

1. Put the firmware software in a separate direc
like DSCA850v11.exe (for Windows comp
Mac OS).
2. Extract the firmware file. Go to the directory
load was placed and extract DSCA850.APP (or
file you downloaded. The APP file extension m
puter has been set to hide extensions of known
3. Format a Compact Flash or Memory Stick ca
camera and not in your computer.
4. Copy the firmware to the CF card. Use a card
camera and computer to copy the firmware to
your memory card. If using the USB cable, make
set to Mass Storage in Setup menu 2.
5. Turn off power and make sure fully charged
6. Install firmware. With the memory card cont
camera, hold down the Menu button and slide t
camera to the ON position. Continue to hold
confirmation window appears.
7. Activate installation. Use the multi-selector ke
center button to begin the update. A screen ind
will appear, and the camera will restart.
8. Check update. Turn off the camera, then switc
ton, followed by the DISP button to confirm th
updated.
Protect Your LCD

The 3-inch color LCD on the back of your Sony A
banging, scratching, and other abuse. Fortunately, th
errant knocks are unlikely to shatter the protective
won’t easily mar its surface. However, if you want to
eral protective products you can purchase to keep yo
make it a little easier to view.
otography
ctory or folder. It will have a name

puters) or DSCA850v11.zip (for
y/folder where the firmware down-

r DSC.APP) by double-clicking the
may not be displayed if your com-
file types.
ard. Format the memory card in the
reader or USB cable linked to your

o the top (root) directory/folder of
e sure the USB connection has been
battery is installed.
taining the firmware update in the
the Power switch on the back of the
d down the Menu button until the
eys to highlight OK, and press the

dicating that the update is complete
ch it on again. Press the Menu but-

hat the firmware has been correctly
Alpha almost seems like a target for

his LCD is quite rugged, and a few
cover over the LCD, and scratches
o be on the safe side, there are sev-
our LCD safe—and, in some cases,
Chapter 9 ■
Here’s a quick overview of your opt

■ Plastic overlays. The simplest
apply a plastic overlay sheet or
static electricity or through a lig
it notes. You can cut down ove
at up to $19.95 for a set of seve
digital cameras. Vendors such a
These products will do a goo
scratches and minor impacts,
whack.
■ Acrylic/glass/polycarbonate
shield for the A850, the PCK
China called GGS makes a ver
models. Unfortunately, it seem
you a specific URL to visit. Th
shields for $5 to $12, plus shi
good luck. The protectors attac
flush and tight, but which all
removed easily if you want to
your view of the LCD and are n
ing conditions.
■ Hoods. Various hood-type de
fold-up hood offered by Sony i
close them to use the optical vie
your image.
Troubleshooting Mem
Sometimes good memory cards go
memory cards badly. It’s possible t
won’t be recognized when inserted
full of important photos and find
access any of them. Don’t panic! If
of things you can do to prevent the
able if they do occur. You’ll want t
sider your options.
tions.
t solution (although not always the cheapest) is to
“skin” cut to fit your LCD. These adhere either by
ght adhesive coating that’s even less clingy than stick-
erlays made for PDAs (although these can be pricey
eral sheets), or purchase overlays sold specifically for
as Zagg (www.zagg.com) offer overlays of this type.
d job of shielding your Alpha’s LCD screen from
, but will not offer much protection from a good
shields. Sony offers a clip-on polycarbonate LCD

K-LH4AM, which costs about $12. A company in
ry popular glass screen protector for various Alpha
ms to be available only through eBay, so I can’t give
here are a number of different sellers offering these
ipping, and I’ve ordered from several of them with
ch using strips of sticky adhesive that hold the panel
low the protector to be pried off and the adhesive
remove or replace the shield. They don’t attenuate
non-reflective enough for use under a variety of light-
vices are available for the Alpha series, including a

itself. My objection to these hoods is that you must
ewfinder, and then open them if you want to review
mory Cards
bad. Sometimes good photographers can treat their
that a memory card that works fine in one camera
into another. In the worst case, you can have a card
that the card seems to be corrupted and you can’t
these scenarios sound horrific to you, there are lots
em from happening, and a variety of remedies avail-
to take some time—before disaster strikes—to con-
All Your Eggs in One Basket?

The debate about whether it’s better to use one lar
ones has been going on since even before there we
when computer users wondered whether it was smar
gigabyte) hard drives in their computer, or if they sh
gled 500MB models. By the same token, a few yea
proponents who insisted that you ought to use 128
huge 512MB versions. Today, most of the argumen
versus 8GB cards.
Why all the fuss? Are 16GB memory cards more lik
risking all your photos if you trust your images to a l
eral smaller cards, so that if one fails you lose only ha
to put all your photos onto one larger card, because
your odds of misplacing or damaging one and losin
In the end, the “eggs in one basket” argument boils d
pen to use your A850. The rationales can go both
cards, you do increase your chances of somethin
arguably, you might be boosting the odds of losing s
important, the fact that you’ve lost 100 rather than
After all, the myth assumes that a damaged card wi
corrupted. Fortunately, memory cards don’t magicall
fail. In a typical shooting session, it doesn’t matter w
pictures on an 8GB card or 7.5GB worth of pictures
you’ve lost the same number of images. Your risk in
ing additional photos on the larger card. In the rea
memory cards don’t fill them up very often. We just
when we need it.
The myth also says that by using several smaller card
so that only some pictures will be lost in case of a f
you, your photographs or the members of your fam
you insist on splitting up your kin and driving sever
If you shoot photojournalist-type pictures, you pro
they’re less than completely full in order to avoid the
(When I shoot sports, my cards rarely reach 80 t
change them.) Using multiple smaller cards means y
often, which can be a real pain when you’re taking
you use 4GB memory cards with an A850 and sho
otography
rge memory card or several smaller

ere memory cards. I can remember
rter to install a pair of 200MB (not
hould go for one of those new-fan-
ars ago the user groups were full of
8MB memory cards rather than the
nts involve 16GB and 32GB cards
kely to fail than 8GB cards? Are you

larger card? Isn’t it better to use sev-
alf as many photos? Or, isn’t it wiser
e the more cards you use, the better
ng at least some pictures?
down to statistics, and how you hap-
ways. If you have multiple smaller
ng happening to one of them, so,
some pictures. If all your images are
200 pictures isn’t very comforting.
ill always be full before it becomes
ly wait until they are full before they
whether you’ve shot 7.5GB worth of
on a 16GB card. If either card fails,
ncreases only when you start shoot-
al world, most of us who use larger
like having the extra capacity there
ds, you’re spreading the risk around

failure. What is more important to
mily? When going on vacation, do
ral smaller cars?
obably change memory cards when
e need to do so at a crucial moment.
to 90 percent of capacity before I
you have to change them that more
g a lot of photos. As an example, if
oot both RAW and JPEG files, you
Chapter 9 ■
may get only a few dozen pictures

36-exposure roll of film (remembe
in one basket, and then making ve
Preventive Measures
Here are some options for preventi
■ Interleaving. One option is to
but you do go on vacation from
or whatever number of images
replace it with a different card
space. Repeat these steps with d
this inconvenience), and, if yo
pictures from each location scat
or damage one, you’ll still have
on the other cards. That’s mo
portable hard disk and copy th
■ External backup. You can pu
Storage Devices (see Figure 9.
automatically. More expensive
your images. I tend to prefer u
can store images on the netbo
copy to an external drive as well
all using a very compact device
Figure 9.2
Small battery-
operated per-
sonal storage
devices can
back up your
images.
on the card. That’s not even twice the capacity of a

er those?). In my book, I prefer keeping all my eggs
ery sure that nothing happens to that basket.
ing loss of valuable images:

interleave your shots. Say you don’t shoot weddings,
m time to time. Take 50 or so pictures on one card,
s might fill about 25 percent of its capacity. Then,
and shoot about 25 percent of that card’s available
diligence (you’d have to be determined to go through
ou use four or more memory cards you’ll find your
ttered among the different memory cards. If you lose
some pictures from all the various stops on your trip
ore work than I like to do (I usually tote around a
he files to the drive as I go), but it’s an option.
urchase external hard disk gadgets called Personal
.2), which can copy files from your memory cards
models have color LCD screens so you can review
using a netbook, like the one shown in Figure 9.3. I
ook’s internal hard disk, and make an extra backup
l. Plus, I can access the Internet from WiFi hotspots,
e.
What Can Go Wrong?

There are lots of things that can go wrong with you
aren’t caused by human stupidity are statistically ver
nal bit bin or controller can suddenly fail due to a m
plicable event caused by old age. However, if your c
that you own it, it should work forever. There’s reall
The typical memory card is rated for a Mean Time B
of use. That’s constant use 24/7 for more than 100
turers, they are good for 10,000 insertions in your ca
their data (and that’s without an external power sou
11 years. Of course, with the millions of cards in use,
here or there.
Given the reliability of solid-state memory compared
more likely that your problems will stem from some
cards are small and easy to misplace if you’re not care
to keep them in their original cases or a “card safe”
Pelican (www.pelican.com), and others. Always plac
provide protection from the second-most common
the common household laundry. If you slip a card in
camera bag often enough, sooner or later it’s going
and probably the clothes dryer, too. There are plenty
era owners who’ve laundered their memory cards an
it’s not uncommon for such mistreatment to do som
otography
Figure 9.3
A small net-
book, linked to
a card reader,
and with or
without an
external hard
drive, is
another backup
option.
ur memory card, but the ones that

ry rare. Yes, a memory card’s inter-
manufacturing error or some inex-
card works for the first week or two
ly not a lot that can wear out.
Between Failures of 1,000,000 hours
0 years! According to the manufac-
amera, and should be able to retain
urce) for something on the order of
, there are bound to be a few lemons
d to magnetic memory, though, it’s

ething that you do. Compact Flash
eful. For that reason, it’s a good idea
offered by Gepe (www.gepe.com),
cing your memory card in a case can
mishap that befalls memory cards:
n a pocket, rather than a case or your
to end up in the washing machine
y of reports of relieved digital cam-
nd found they still worked fine, but
me damage.
Chapter 9 ■
Memory cards can also be stompe

chewed by pets, and otherwise rend
force a Compact Flash card into y
you’re diligent enough, doing little
tor pins in the camera, eliminating
Or, if the card is formatted in your
may fail to recognize it. Occasion
camera would fail if used in a differ
then again in the camera). Every o
seemingly—can’t be salvaged.
Another way to lose images is to d
portune time. If you remove the car
to the card, you’ll lose any photos in
card, making it difficult or impossi
same thing can happen if you remov
while the computer is writing to the
computer). You can avoid this by n
card but, instead, always reformatti
What Can You Do?

Pay attention: If you’re having prob
memory card. Don’t take any mor
you’ve figured out what’s wrong. Yo
ficiently careful with your cards tha
harm that hasn’t already been done.
decide on a course of action (such a
later) before you risk damaging the
Now that you’ve calmed down, the f
a card in the camera. If you’ve set t
w/o Card in the Custom menu 2)
not particularly plausible) that you’v
the pictures (you’ll have to ignore t
can lead to massive disappointment
picture review, or have purchased o
in this chapter. You can avoid all th
ory card, as explained in Chapter 3
Things get more exciting when the c
not a lot you can do other than take
You Seen This Lost Flash Memory?
ed on, accidentally bent, dropped into the ocean,

dered unusable in myriad ways. It’s also possible to
your A850’s Compact Flash card slot incorrectly if
damage to the card itself, but bending the connec-
its ability to read or write to any memory card.
r computer with a memory card reader, your A850
nally, I’ve found that a memory card used in one
rent camera (until I reformatted it in Windows, and
once in awhile, a card goes completely bad and—
do commonplace things with your card at an inop-

rd from the A850 while the camera is writing images
n the buffer and may damage the file structure of the
ible to retrieve the other pictures you’ve taken. The
ve the memory card from your computer’s card reader
e card (say, to erase files you’ve already moved to your
not using your computer to erase files on a memory
ing the card in your A850 before you use it again.
blems, the first thing you should do is stop using that

re pictures. Don’t do anything with the card until
our second line of defense (your first line is to be suf-
at you avoid problems in the first place) is to do no
. Read the rest of this section and then, if necessary,
as using a data recovery service or software described
e data on your card further.
first thing to check is whether you’ve actually inserted
the camera so that shooting without a card (Release
has been turned on, it’s entirely possible (although
ve been snapping away with no memory card to store
the warning that the A850 presents to you), which
t later on. But maybe you’re inattentive, aren’t using
one of those LCD fold-up hoods mentioned earlier
his by disabling the ability to shoot without a mem-
3.
card itself is put in jeopardy. If you lose a card, there’s
e a picture of a similar card and print up some Have
? flyers to post on utility poles all around town.
If all you care about is reusing the card, and have r

tures, try reformatting the card in your camera. You m
the corrupted data and restores your card to health.
matting a card in my computer using a memory ca
because your operating system doesn’t understand t
reformatting again in the camera.
If your memory card is not behaving properly, and y
things get a little more complicated. If your pictures
to others (for example, a wedding), you can always
firms. Be prepared to pay hundreds of dollars to get
often do an amazing job. You wouldn’t want them
behalf of the police if you’d tried to erase some incri
firms of this type, and I’ve never used them myself,
Use a Google search to turn up a ton of them.
One approach is to try special data recovery softw
puter and use to attempt to resurrect your “lost” im
ally be gone completely. Perhaps your card’s “table
few pictures are damaged in such a way that your
some or any of the pictures on the card. Some of
specifically to reconstruct lost pictures, while
purpose applications that can be used with any m
hard disk drives. They have names like OnTrack
Recovery, MediaRecover, Image Recall, and the a
You’ll find a comprehensive list and links, as wel
www.ultimateslr.com/memory-card-recovery.php.
SanDisk supplies (see Figure 9.4), especially since
totally unable to erase by mistake.
THE ULTIMATE IRONY

I recently purchased an 8GB Kingston memory card th
OnTrack data recovery software. The first thing I did w
was OK. Then I hunted around for the free software, o
onto the memory card. I was supposed to copy the sof
the memory card for the first time.
Fortunately, I had the OnTrack software that would re
retrieve the software. No, wait. I didn’t have the softwa
I erased. I’d reformatted it to oblivion. Chalk this one
Stupid Photographer Trick #523.
otography
resigned yourself to losing the pic-

may find that reformatting removes
. Sometimes I’ve had success refor-
ard reader (this is normally a no-no
the needs of your A850), and then
you do want to recover your images,

s are very valuable, either to you or
s turn to professional data recovery
t your pictures back, but these pros
working on your memory card on
iminating pictures. There are many
so I can’t offer a recommendation.
ware you can install on your com-

mages yourself. They may not actu-
of contents” is jumbled, or only a
r camera and computer can’t read
the available software was written
other utilities are more general
media, including floppy disks and
k, Photo Rescue 2, Digital Image
aptly named Recover My Photos.
ll as some picture recovery tips at
I like the RescuePro software that
it came on a mini-CD that I was
hat was furnished with some nifty

was format the card to make sure it
only to discover it was preloaded
ftware to my computer before using
everse my dumb move, so I could

are I needed to recover the software
up as either the ultimate irony or
Chapter 9 ■
Figure 9.4
SanDisk
supplies
RescuePRO
recovery soft-
ware with
some of its
memory
cards.
DIMINISHING RETURNS
Usually, once you’ve recovered any im
returned it to service, it will function
find a particular card going bad mor
using it forever. See if you can get it
case of memory card failures, the thi
Clean Your Sensor

Yes, your Alpha A850 does have an a
sor. And it does have an automatic s
you turn on the camera. But, even
born dust on your sensor. There’s n
dust is going to settle on your camer
ing its way inside your camera to se
mirror flipping up and down cause
mages on a memory card, reformatted it, and

n reliably for the rest of its useful life. However, if you
re than once, you’ll almost certainly want to stop
replaced by the manufacturer if you can, but, in the
ird time is never the charm.
anti-static coating on the cover that protects the sen-

sensor dust removal system that activates every time
with those high tech aids, you’ll still get some stub-
no avoiding it. No matter how careful you are, some
ra and on the mounts of your lenses, eventually mak-
ettle in the mirror chamber. As you take photos, the
es the dust to become airborne and eventually make
its way past the shutter curtain to come to rest on th

sor. There, dust and particles can show up in every
enough aperture to bring the foreign matter into sh
you are and how cleanly you work, eventually you
camera’s sensor. But even the cleanest-working pho
far from immune.
Dust the FAQs, Ma’am.

Here are some of the most frequently asked questio
Q. I see tiny specks in my viewfinder. Do I have
A. If you see sharp, well-defined specks, they are clin
screen and not on your sensor. They have absolu
and are merely annoying or distracting.
Q. I can see dust on my mirror. How can I remo
A. Like focus screen dust, any artifacts that have s
your photos. You can often remove dust on the
air blower, which will loosen it and whisk it away
can sometimes be gently flicked away with a soft
I don’t recommend brushing the mirror or touc
special front-surface-silvered optical device (unli
silvered on the back side of a piece of glass or p
If you can’t blow mirror dust off, it’s best to jus
the viewfinder, anyway.
Q. I see a bright spot in the same place in all of
A. You’ve probably got either a “hot” pixel or one
a defect in the sensor. A hot pixel is one that sho
long exposures as the sensor warms. A pixel stuck
in the image. Both show up as bright red, green
by a small cluster of other improperly illumina
interpolating the hot or stuck pixel into its surr
A stuck pixel can also be permanently dark. Eit
they contrast with plain, evenly colored areas of
Finding one or two hot or stuck pixels in your
mon. They can be “removed” by telling the Alp
ple process called pixel mapping.
otography
he anti-aliasing filter atop your sen-

y single picture you take at a small
harp focus. No matter how careful
will get some of this dust on your
otographers using Sony cameras are
ons about sensor dust issues.

e dust on my sensor?
nging to the underside of your focus
utely no effect on your photographs,
ove it?
settled on your mirror won’t affect
e mirror or focus screen with a bulb
y. Stubborn dust on the focus screen
t brush designed for cleaning lenses.
ching it in any way. The mirror is a
ike conventional mirrors, which are
plastic) and can be easily scratched.
st forget about it. You can’t see it in
my photos. Is that sensor dust?

that is permanently “stuck” due to
ows up as a bright spot only during
k in the “on” position always appears
n, or blue pixels, usually surrounded
ated pixels, caused by the camera’s
roundings, as shown in Figure 9.5.
ther kind is likely to show up when
f your image.
sensor is unfortunately fairly com-
pha to ignore them through a sim-
Chapter 9 ■
Figure 9.5
A stuck pixel is
surrounded by
improperly
interpolated
pixels created
by the Alpha’s
demosaicing
algorithm.
Q. I see an irregular out-of-focus

sor dust?
A. Yes. Sensor contaminants can ta
lines if they are caused by minu
appear out of focus because the
fraction of a millimeter above i
f/stop used, the more in-focus
visible at all.
Q. I never see any dust on my se
A. Those who never have dust pr
categories: those for whom the
ing well; those who seldom cha
minimize the amount of dust th
simply don’t notice the dust (of
other pictures using the small f
those who are very, very lucky.
Identifying and Dealing

Sensor dust that isn’t automatically
a problem than it might be becau
Indeed, you might have dust on you
doesn’t actually settle on the sensor
distance above the sensor, subjectin
focus is the distance the focal plan
focus. At f/2.8 to f/5.6 or even sma
outside the range of depth-of-focus
s blob in the same place in my photos. Is that sen-
ake the form of tiny spots, larger blobs, or even curvy

uscule fibers that have settled on the sensor. They’ll
ey aren’t actually on the sensor surface but, rather, a
it on the filter that covers the sensor. The smaller the
the dust becomes. At large apertures, it may not be
ensor. What’s all the fuss about?

roblems with their Sony Alpha fall into one of four
e camera’s automatic dust removal features are work-
ange their lenses and have clean working habits that
hat invades their cameras in the first place; those who
ften because they don’t shoot many macro photos or
f/stops that make dust evident in their images); and
g with Stubborn Dust

y removed by the Alpha’s anti-dust features is less of
use it shows up only under certain circumstances.
ur sensor right now and not be aware of it. The dust
r itself, but, rather, on a protective filter a very tiny
ng it to the phenomenon of depth-of-focus. Depth-of-
ne can be moved and still render an object in sharp
aller, sensor dust, particularly if small, is likely to be
s and blur into an unnoticeable dot.
However, if you’re shooting at f/16 to f/22 or small

into focus. Forget about trying to spot them by peer
shutter open and the lens removed. The period at the
in diameter, could block a group of pixels measuring
Dust spots that are even smaller than that can easil
shooting large, empty areas that are light colored. D
up in the sky, as in Figure 9.6, or in white backgrou
and are less likely to be a problem in images that co
To see if you have dust on your sensor, take a few

(such as a piece of paper or a cloudless sky) at small f
open. Open Photoshop, copy several shots into a s
then flip back and forth between layers to see if any
ers. You may have to boost contrast and sharpness t
otography
ler, those dust motes suddenly pop

ring directly at your sensor with the
e end of this sentence, about .33mm
g 40 × 40 pixels (160 pixels in all!).
ly show up in your images if you’re
Dust motes are most likely to show
unds of your seamless product shots
ontain lots of dark areas and detail.
Figure 9.6
Only the dust
spots in the sky
are apparent in
this shot.
test shots of a plain, blank surface

f/stops, such as f/22, and a few wide
single document in separate layers,
y spots you see are present in all lay-
to make the dust easier to spot.
Chapter 9 ■
Avoiding Dust
Of course, the easiest way to protec
on the sensor in the first place. Here
it begins.
■ Clean environment. Avoid wo
photographers will take this on
to go where the pictures are. O
(considering that it is so easily
tions just to protect something
find a great picture opportunit
rounded by dust clouds, you m
caution (don’t remove your le
wards!) you can still shoot. Ho
clean environment. One place
camera bag. Clean your bag fro
■ Clean lenses. There are a few
to minimize the chance of dus
just to use a blower or brush to
first, so you won’t be introducin
dusty lens. Do this before you
stirring up dust before making
■ Work fast. Minimize the time
means having your replacemen
the old lens as soon as it is rem
■ Let gravity help you. Face th
any dust in the mirror box wil
to any breezes, indoor forced a
infiltration.
■ Protect the lens you just rem
put the end cap on the one yo
on it.
■ Clean out the vestibule. From
dust-free environment and use
compressed air or a vacuum ho
is generally safer than a can of c
which can tend to drive dust fu
ct your sensor from dust is to prevent it from settling

e are my stock tips for eliminating the problem before
orking in dusty areas if you can do so. Hah! Serious

ne with a grain of salt, because it usually makes sense
Only a few of us are so paranoid about sensor dust
y removed) that we’ll avoid moderately grimy loca-
g that is, when you get down to it, just a tool. If you
ty at a raging fire, during a sandstorm, or while sur-
might hesitate to take the picture, but, with a little
ens in these situations, and clean the camera after-
owever, it still makes sense to store your camera in a
cameras and lenses pick up a lot of dust is inside a
om time to time, and you can avoid problems.
paranoid types that avoid swapping lenses in order
st getting inside their cameras. It makes more sense
dust off the rear lens mount of the replacement lens
ng dust into your camera simply by attaching a new,
remove the lens from your camera, and then avoid
g the exchange.
e your camera is lens-less and exposed to dust. That
nt lens ready and dusted off, and a place to set down
moved, so you can quickly attach the new lens.
he camera downward when the lens is detached so
ll tend to fall away from the sensor. Turn your back
air vents, fans, or other sources of dust to minimize
moved. Once you’ve attached the new lens, quickly

ou just removed to reduce the dust that might fall
m time to time, remove the lens while in a relatively

a blower bulb like the one shown in Figure 9.7 (not
ose) to clean out the mirror box area. A blower bulb
compressed air, or a strong positive/negative airflow,
urther into nooks and crannies.
■ Be prepared. If you’re embarking on an importa

to clean your sensor now, rather than come hom
images with dust spots caused by flecks that wer
even started. Before I left on my recent trip to S
ing through a rigid cleaning regimen, figuring
measly 10 days. I even left my bulky blower bulb
my intentions were good. I now have a smal
Blower, and that goes with me everywhere.
■ Clone out existing spots in your image editor
a clone tool or healing brush you can use to copy
the dust spot or dead pixel. This process can be
of dust spots and/or lots of images to be correc
of manual fix-it probably will do the least dama
the cloned pixels will be affected.
■ Use filtration in your image editor. A semi-sm
Scratches filter can remove dust and other artifa
the plug-in decides represent dust spots. This m
many dust spots, because you won’t need to pa
automated method like this has the possibility o
you didn’t intend to soften.
otography
Figure 9.7
Use a robust air
bulb like the
Giottos Rocket
for cleaning
your sensor.
ant shooting session, it’s a good idea

me with hundreds or thousands of
re sitting on your sensor before you
Spain, I put both cameras I was tak-
g they could remain dust-free for a
b at home. It was a big mistake, but
ler version of the Giottos Rocket
r. Photoshop and other editors have

y pixels from surrounding areas over
e tedious, especially if you have lots
cted. The advantage is that this sort
age to the rest of your photo. Only
mart filter like Photoshop’s Dust &

acts by selectively blurring areas that
method can work well if you have
atch them manually. However, any
of blurring areas of your image that
Chapter 9 ■
Sensor Cleaning
Those new to the concept of sensor
camera themselves. Isn’t it a better
service center so their crack technic
shouldn’t you let the friendly folks
Of course, if you choose to let some
ods that are more or less identical
these techniques are difficult, and t
cleaning is that they might have do
you can do just as good a job.
Of course vendors like Sony won’t t
It’s not that difficult for a real goof
shortcut. Perhaps the person uses t
a finger slips, allowing the shutter
Or, someone tries to clean the senso
its surface. If Sony recommended a
wrong, and then the company wou
it exactly in the way the vendor sug
You can see that vendors like Sony
and, in doing so, make it seem as
than it really is. Some vendors reco
reasonably gentle blasts of air, whi
and cleaning fluids. However, thes
recommended against are for sale i
tographer is more dexterous than th
ilar to those used by official repair s
camera in for a dust-up.
As I noted, sensors can be affected
might be able to spot visually on th
tend to be fairly hard compared to o
sensor in your Sony Alpha within
steady hand and careful touch. If y
cleaning, you can’t simply remove i
There are four basic kinds of cleani
sticky stuff that settles on your dSL
shutter locked open. I’ll describe t
the shutter later in this section.
r dust actually hesitate before deciding to clean their

r idea to pack up your Alpha and send it to a Sony
cal staff can do the job for you? Or, at the very least,
at your local camera store do it?
eone else clean your sensor, they will be using meth-
to the techniques you would use yourself. None of
the only difference between their cleaning and your
one it dozens or hundreds of times. If you’re careful,
tell you this, but it’s not because they don’t trust you.
fball to mess up his camera by hurrying or taking a
the “Bulb” method of holding the shutter open and
curtain to close on top of a sensor cleaning brush.
or using masking tape, and ends up with goo all over
any method that’s mildly risky, someone would do it
uld face lawsuits from those who’d contend they did
ggested, so the ruined camera is not their fault.
tend to be conservative in their recommendations,
if sensor cleaning is more daunting and dangerous
ommend only dust-off cleaning, through the use of
ile condemning more serious scrubbing with swabs
se cleaning kits for the exact types of cleaning they
in Japan only, where, apparently, your average pho-
hose of us in the rest of the world. These kits are sim-
staff to clean your sensor if you decide to send your
d by dust particles that are much smaller than you

he surface of your lens. The filters that cover sensors
optical glass. Cleaning the (roughly) 24mm × 36mm
the tight confines of the mirror box can call for a
your sensor’s filter becomes scratched through inept
it yourself and replace it with a new one.
ing processes that can be used to remove dusty and
LR’s sensor. All of these must be performed with the
these methods and provide instructions for locking
■ Air cleaning. This process involves squirting bl

the shutter locked open. This works well for du
your sensor.
■ Brushing. A soft, very fine brush is passed acro
dislodging mildly persistent dust particles and s
■ Liquid cleaning. A soft swab dipped in a cleani
to wipe the sensor filter, removing more obstina
■ Tape cleaning. There are some who get good re
tape to the surface of their sensor. When the tape
it. Supposedly. I’d be remiss if I didn’t point out
ing is somewhat controversial; the other three
accepted. Now that Sony has equipped the fro
dust coating, I wouldn’t chance damaging that
sive tape.
Placing the Shutter in the Locked and Fully U

Make sure you’re using a fully charged battery.
1. Press the Menu button.
2. Choose Setup menu 3 and select Cleaning m
center button.
3. The screen that pops up says After cleaning turn
and press the multi-selector center button.
4. You’ll hear the mirror flip up. The sensor will b
9.8.
5. Remove the lens and use one of the methods d
grime from your sensor. Be careful not to accide
the memory card or battery compartment door
shutter may be damaged if it closes on your clea
6. When you’re finished, turn off the power, repla
era back on.
Air Cleaning
Your first attempts at cleaning your sensor should
Many times, you’ll be able to dislodge dust spots, wh
luck, out of the mirror box. Attempt one of the other
tried air cleaning and it didn’t remove all the dust.
otography
lasts of air inside your camera with

ust that’s not clinging stubbornly to
oss the surface of the sensor’s filter,

sweeping them off the imager.
ing solution such as ethanol is used
ate particles.
esults by applying a special form of
e is peeled off, all the dust goes with
t right now that this form of clean-
e methods are much more widely
ont sensor filter with a special anti-
coating by using any kind of adhe-
Upright Position for Landing
mode and press the multi-selector
n camera off. Continue? Choose OK
be exposed as you can see in Figure
described below to remove dust and

entally switch the power off or open
rs as you work. If that happens, the
aning tool.
ace your lens, and switch your cam-
always involve gentle blasts of air.

hich will fall off the sensor and, with
r methods only when you’ve already
Chapter 9 ■
Figure 9.8
With the mir-
ror flipped up,
the sensor is
exposed.
Here are some tips for air cleaning:

■ Use a clean, powerful air bulb
like the Giottos Rocket shown i
a brush attached sometimes sol
provide sufficient air or a stron
■ Hold the Sony Alpha upside
squirt your air blasts, increasin
dust downward, away from the
positioning yourself. (And don
■ Never use air canisters. The pr
sensor if you tilt the can while
■ Avoid air compressors. Super-
sensor filter.
:
b. Your best bet is bulb cleaners designed for the job,
in Figure 9.9. Smaller bulbs, like those air bulbs with
ld for lens cleaning or weak nasal aspirators may not
ng enough blast to do much good.
e down. Then look up into the mirror box as you
ng the odds that gravity will help pull the expelled
e sensor. You may have to use some imagination in
n’t let dust fall into your eye!)
ropellant inside these cans can permanently coat your
spraying. It’s not worth taking a chance.
-strong blasts of air are likely to force dust under the
Brush Cleaning
If your dust is a little more stubborn and can’t be dis
to try a brush, charged with static electricity, that c
attraction. One good, but expensive, option is the
dust.com. A cheaper version can be purchased at ww
a 24mm version, like the one shown in Figure 9.10
long dimension of your Alpha’s sensor.
Ordinary artist’s brushes are much too coarse and st
or can come loose and settle on your sensor. A goo
and described as “thinner than a human hair.” More
dle that reduces the risk of static sparks. Check out
you want to make a sensor brush (or sensor swabs)
Brush cleaning is done with a dry brush by gently sw
ter with the tip. The dust particles are attracted to th
You should clean the brush with compressed air bef
in an appropriate air-tight container between applica
Although these special brushes are expensive, one sh
otography
Figure 9.9
Turn the cam-
era upside
down while
cleaning with
an air bulb to
allow dust to
fall out of the
camera.
slodged by air alone, you may want

can pick off dust spots by electrical
Sensor Brush sold at www.visible-
ww.copperhillimages.com. You need
0, which can be stroked across the
tiff and have fibers that are tangled

od sensor brush’s fibers are resilient
eover, the brush has a wooden han-
my Digital SLR Pro Secrets book if
yourself.
wiping the surface of the sensor fil-
he brush particles and cling to them.
fore and after each use, and store it
ations to keep it clean and dust-free.
hould last you a long time.
Chapter 9 ■
Figure 9.10
A proper brush
is required for
dusting off
your sensor.
The long cord
shown is
attached to a
grounded
object to
reduce static
electricity.
Liquid Cleaning
Unfortunately, you’ll often encoun
with a blast of air or flick of a brus
or a liquid that causes them to stic
cleaning with a swab may be neces
own sensor, I accidentally got my b
of deposit from the tip of the bulb
ered that liquid cleaning did a good
dence on my sensor.
You can make your own swabs out
knives, with the tip cut at an angle
Pad, as shown in Figures 9.11 and 9
can’t go wrong with good-quality co
by Photographic Solutions, Inc. (w
You want a sturdy swab that won’t
the swab as you wipe the sensor su
can get it, particularly medical gra
Eclipse solution also sold by Photog
than even medical-grade methanol.
you have a spot that’s extremely dif
extra solution on the swab to help “
Once you overcome your nervousn
easy. You’ll wipe continuously wit
wipe in the other direction. You ne
you may end up depositing the du
don’t rub.
nter really stubborn dust spots that can’t be removed

sh. These spots may be combined with some grease
ck to the sensor filter’s surface. In such cases, liquid
ssary. During my first clumsy attempts to clean my
blower bulb tip too close to the sensor, and some sort
b ended up on the sensor. I panicked until I discov-
d job of removing whatever it was that took up resi-
t of pieces of plastic (some use fast food restaurant

to the proper size) covered with a soft cloth or Pec-
9.12. However, if you’ve got the bucks to spend, you
ommercial sensor cleaning swabs, such as those sold
www.photosol.com/swabproduct.htm).
t bend or break so you can apply gentle pressure to
urface. Use the swab with methanol (as pure as you
ade; other ingredients can leave a residue), or the
graphic Solutions. Eclipse is actually quite a bit purer
A couple drops of solution should be enough, unless
fficult to remove. In that case, you may need to use
“soak” the dirt off.
ness at touching your Alpha’s sensor, the process is
th the swab in one direction, then flip it over and
eed to completely wipe the entire surface; otherwise,
ust you collect at the far end of your stroke. Wipe;
Figure 9.11 You can make your own sensor swab from a
plastic knife that’s been truncated.
Magnifier Assisted Cleaning

Using a magnifier to view your sensor as you clean it
I have four Carson MiniBrite PO-25 magnifiers (see
camera bag. So, no matter where I am shooting, I ha
me. When I’m not traveling, I use a SensorKlear lou
LED illuminator. There’s an opening on one side tha
cleaning wand, a lens pen-like stylus with a surface tr
Figure 9.14.) Both the SensorKlear loupe and the Se
www.lenspen.com.
otography
Figure 9.12 Carefully wrap a Pec-Pad around the

swab.
t is a good idea. I rely on two types.

e Figure 9.13), and keep one in each
ave one of these $8.95 gadgets with
upe. It’s a magnifier with a built-in
at allows you to insert a SensorKlear
reated to capture dust particles. (See
ensorKlear wand are available from
Figure 9.13
The Carson
MiniBrite is a
good value sen-
sor magnifier.
Chapter 9 ■
Figure 9.14
The SensorKlear
Loupe and
wand allow
quickly remov-
ing multiple
dust particles.
When I’m using the MiniBrite, I

remembering that the position of th
on an image on the camera’s LCD (
ing the exposure). Then, I use the S
artifact.
The SensorKlear loupe actually allo
cleaning. You can peer through the
position of the dust, then insert the
This method allows removing a bun
cedure when I have the loupe with
locate the dust on the sensor with the magnifier,

he dust will be reversed from what I might have seen
(because the camera lens flips the image when mak-
SensorKlear wand or the blower brush to remove the
ows you to keep your eye on the prize as you do the

e viewer, rotate the opening to the side opposite the
e hinged wand to tap the dust while you’re watching.
nch of dust particles quickly, so it’s my preferred pro-
me.
THE ECLIPSE SAGA

If you read my advice in one of my earlier camera guid
solution (as recommended by Photographic Solutions)
product, forget what I said—I was only repeating the m
company has now reversed itself, discontinued Eclipse
original solution once again. Wha’ happen?
Photographic Solutions is fairly mum about the revers
Eclipse 2 in the first place, as far as I’ve been able to pi
Eclipse’s methanol could change the properties of the i
the glass anti-aliasing filter that covers the sensor. ITO
helps fend off the static electricity build-up that attract
presumably, more friendly to this coating. I suspect tha
potential damage to ITO coatings by the original Eclip
that Eclipse 2 was not as effective in cleaning the senso
and the recommendation is to use Eclipse Classic once
Tape Cleaning
There are people who absolutely swear by the tape m
cept seems totally wacky, and I have never tried it per
that it either does or does not work. In the interest
here. I can’t give you a recommendation, so if you
me. The Sony Alpha is still too new to have generat
damaging the anti-dust coating on the sensor filter
Tape cleaning works by applying a layer of Scotch Br
is a minimally sticky tape that some of the tape clean
adhesive. I did check this out with 3M, and can say
tain an adhesive. The question is whether the adhes
the tape, taking any dust spots on your sensor with
claim there is no residue. There have been reports fro
that residue is left behind. This is all anecdotal evide
own in making the decision whether to try out the
otography
des to use only Eclipse 2 cleaning

) rather than the older Eclipse
manufacturer’s advice, and the
e 2, and is recommending only the
sal. The original rationale for

iece together, was that the original
indium tin oxide (ITO) coating on
O is electrically conductive, and thus
ts dust to the sensor. Eclipse 2 was,
at the vendor discovered that the
pse was less than estimated, and
or. So, New Eclipse was dumped
e again.
method of sensor cleaning. The con-

rsonally, so I can’t say with certainty
t of completeness, I’m including it
have problems, please don’t blame
ted any reports of users accidentally
using this method.
rand Magic Tape to the sensor. This
ning proponents claim contains no
that Magic Tape certainly does con-
sive comes off when you peel back
it. The folks who love this method
om those who don’t like the method
ence, so you’re pretty much on your
tape cleaning method.
Here are some terms you might enco
Sony Alpha.
additive primary colors The red,
binations to create all other colors
computer monitor, or work with in
also CMYK color model.
Adobe RGB One of two color spa
is an expanded color space useful fo
reproduce a larger number of color
if your images will be displayed pri
personal printer. See also sRGB.
ambient lighting Diffuse, non-di
a specific source but, rather, bounc
when a picture is taken.
analog/digital converter The elec
information captured by the Alph
image bitmap.
angle of view The area of a scene th
of the lens. Lenses with a shorter f
with a longer focal length.
anti-alias A process that smoothes
staircasing) by adding partially trans
that are merged into a smoother lin
Aperture priority A camera setting
that you want to use, with the came
based on its light meter reading. T
the Alpha’s mode dial. See also Shut
Glossary
ounter while reading this book or working with your
green, and blue hues that are used alone or in com-

s that you capture with a digital camera, view on a
n an image-editing program, such as Photoshop. See
ace choices offered by the Sony Alpha. Adobe RGB

or commercial and professional printing, and it can
rs. Sony recommends against using this color space
imarily on your computer screen or output by your
irectional lighting that doesn’t appear to come from

ces off walls, ceilings, and other objects in the scene
ctronics built into a camera that convert the analog

ha’s sensor into digital bits that can be stored as an
hat a lens can capture, determined by the focal length

focal length have a wider angle of view than lenses
s the look of rough edges in images (called jaggies or

sparent pixels along the boundaries of diagonal lines
ne by our eyes. See also jaggies.
g that allows you to specify the lens opening or f/stop
era selecting the required shutter speed automatically
This setting is represented by the abbreviation A on
tter priority.
artifact A type of noise in an image, or an uninten

in error by a digital camera during processing, usuall
process in digital cameras.
aspect ratio The proportions of an image as printe
tured by a digital camera. The Sony Alpha cameras o
ratio used by most other digital SLRs, and also the 1
autofocus A camera setting that allows the Sony Al
tance for you, based on a system called phase detec
split image at designated focus points or zones. The
AF, in which the lens is not focused until the shu
Continuous AF, in which the lens refocuses consta
image; and Automatic AF, which allows the camera
Single-shot AF and Continuous AF, based on subjec
backlighting A lighting effect produced when the m
the subject. Backlighting can be used to create a
translucent objects. See also front lighting and sideli
barrel distortion A lens defect that causes straight
image to bow outward into a barrel shape. See also p
blooming An image distortion caused when a p
absorbed all the photons it can handle so that addi
overflow to affect surrounding pixels, producing un
sure around the edges of objects.
blur To soften an image or part of an image by thr
ing it to become soft due to subject or camera mot
image-editing program.
bokeh A term derived from the Japanese word for
qualities of the out-of-focus parts of an image. Some
others offer “bad” bokeh. Some lenses produce unifor
Others produce a disc that has a bright edge and a
effect, which is the worst from a bokeh standpoint.
ter that fades to a darker edge are favored, because th
fusion to blend more smoothly with the surroundin
lens are most important when you’re using selectiv
trait) to deemphasize the background, or when shallo
you’re working with a macro lens, with a long teleph
See also circle of confusion.
otography
ntional image component produced

ly caused by the JPEG compression
ed, displayed on a monitor, or cap-

offer both the traditional 3:2 aspect
16:9 (“HDTV”) aspect ratio.
lpha to choose the correct focus dis-
ction that compares two halves of a
e camera can be set for Single-shot
utter release is partially depressed;
antly as you frame and reframe the
a to switch back and forth between
ct movement.
main light source is located behind
silhouette effect, or to illuminate
ighting.
t lines at the top or side edges of an
pincushion distortion.
photosite in an image sensor has
itional photons reaching that pixel
nwanted brightness and overexpo-
rowing it out of focus, or by allow-

tion. Blur can also be applied in an
blur, which describes the aesthetic

e lenses produce “good” bokeh and
rmly illuminated out-of-focus discs.
dark center, creating a “doughnut”
. Lenses that generate a bright cen-
heir bokeh allows the circle of con-
ngs. The bokeh characteristics of a
ve focus (say, when shooting a por-
ow depth-of-field is a given because
hoto, or with a wide-open aperture.
bounce lighting Light bounced of
a soft, natural-looking light.
bracketing Taking a series of pho
including exposure and white balan
rect one.
buffer The digital camera’s internal
it is taken until it can be written to
ory or a memory card.
burst mode The digital camera’s e
take multiple shots within a short
each stored in a memory buffer tem
calibration A process used to corr
monitor when compared to the or
monitor, and/or your image editor,
resent what you’ll get from your pr
Camera Raw A plug-in included
manipulate the unprocessed images
ARW files. The latest versions of
images.
camera shake Movement of the c
produces a blurred image, unless co
Center weighted metering A ligh
middle of the frame when calculati
segment metering and Spot meterin
chromatic aberration An image d
the edges of an object, caused by a l
same point. See also fringing.
circle of confusion A term applie
is out of focus. The circle of confu
amount of enlargement of the imag
image as a point or as a disc. See als
close-up lens A lens add-on that
than the closest focusing distance o
CMYK color model A way of d
magenta, yellow, and frequently, bla
in the RGB color model.) Black is a
is commonly used for printing (both
Glossary 287
ff a reflector, including ceiling and walls, to provide
otographs of the same subject at different settings,

nce, to help ensure that one setting will be the cor-
l memory where an image is stored immediately after

o the camera’s non-volatile (semi-permanent) mem-
equivalent of the film camera’s motor drive, used to

period of time, at a rate of 3.0 frames per second,
mporarily before writing them to the media.
rect for the differences in the output of a printer or
riginal image. Once you’ve calibrated your scanner,
, the images you see on the screen more closely rep-
rinter, even though calibration is never perfect.
with Photoshop and Photoshop Elements that can
captured by digital cameras, such as the Sony Alpha’s
this module can also work with JPEG and TIFF
camera, aggravated by slower shutter speeds, which

ountered by the Alpha’s SteadyShot feature.
ht measuring device that emphasizes the area in the
ing the correct exposure for an image. See also Multi
ng.
defect, often seen as green or purple fringing around
lens failing to focus all colors of a light source at the
ed to the fuzzy discs produced when a point of light

usion is not a fixed size. The viewing distance and
ge determine whether we see a particular spot on the
so bokeh.
allows you to take pictures at a distance that is less
of the lens alone.
defining all possible colors in percentages of cyan,
ack. (K represents black, to differentiate it from blue
added to improve rendition of shadow detail. CMYK
h on press and with your inkjet or laser color printer).
color correction Changing the relative amounts

desired effect, typically a more accurate representatio
can fix faulty color balance in the original image, or
the inks used to reproduce the image.
compression Reducing the size of a file by encodi
to represent the original. Some compression schem
carding some image information, while others, such
the original, discarding only redundant data.
Continuous AF An automatic focusing setting in
cuses the image as you frame the picture. This settin
ing subjects.
contrast The range between the lightest and darke
trast image is one in which the shades fall at the ex
and black. In a low-contrast image, the tones are clo
dedicated flash An electronic flash unit designed to
features of a specific camera.
depth-of-field A distance range in a photograph in
image are at least acceptably sharp.
diaphragm An adjustable component, similar to t
open and close to provide specific-sized lens openin
amount of light reaching the sensor or film.
diffuse lighting Soft, low-contrast lighting.
digital processing chip A solid-state device found i
Alpha’s BIONZ module) that’s in charge of applyin
picture data prior to storage on the memory card.
diopter A value used to represent the magnificatio
reciprocal of a lens’s focal length (in meters). Diopte
the optical correction used in a viewfinder to adjust f
eyesight, and to describe the magnification of a clos
evaluative metering A system of exposure calculatio
ments of an image to determine the brightest and
uses this system when you select the Multi segment
exchangeable image file format (Exif ) Develop
image data between hardware devices and software.
by most digital cameras, and includes information
was taken, the camera settings, resolution, amount o
otography
of color in an image to produce a

on of those colors. Color correction
r compensate for the deficiencies of
ing using fewer bits of information

mes, such as JPEG, operate by dis-
h as RAW, preserve all the detail in
which the camera constantly refo-

ng is often the best choice for mov-
est tones in an image. A high-con-

xtremes of the range between white
oser together.
o work with the automatic exposure
n which all included portions of an
the iris in the human eye, that can

ngs, or f/stops, and thus control the
in digital cameras (such as the Sony

ng the image algorithms to the raw
on power of a lens, calculated as the

ers are most often used to represent
for limitations of the photographer’s
se-up lens attachment.
on that looks at many different seg-
darkest portions. The Sony Alpha
t metering mode.
ped to standardize the exchange of
. A variation on JPEG, Exif is used
such as the date and time a photo
of compression, and other data.
Exif See exchangeable image file fo
exposure The amount of light allo
intensity of the light, the amount
determined by the shutter speed, an
exposure values (EV) EV settings
the need to reference f/stops or shu
add +1EV, it will provide twice as m
ter speed, or both.
fill lighting In photography, light
tional incandescent lighting or elec
common technique outdoors is to u
filter In photography, a device tha
In image editing, a feature that ch
sharpening, and other special effects
including Lens Blur and Photo Filt
flash sync The timing mechanism
flash fires at the correct time during
is the highest shutter speed that can
(or 1/250th second if SteadyShot i
tain sync) and rear-curtain sync (se
focal length The distance between
lens is focused on infinity, usually m
focal plane A line, perpendicular
point forming a plane of sharp focu
cator (a line drawn through a circle
the left of the mode dial.
focus tracking The ability of the a
as the distance between the subject
ing is predictive, in which the mec
focused on, and adjusts the focus to
format To erase a memory card an
fringing A chromatic aberration th
jects, caused by a lens’s inability to f
spot. Purple fringing is especially tr
Glossary 289
ormat (Exif ).
owed to reach the film or sensor, determined by the
admitted by the iris of the lens, the length of time
nd the ISO sensitivity setting.
are a way of adding or decreasing exposure without
utter speeds. For example, if you tell your camera to
much exposure by using a larger f/stop, slower shut-
ting used to illuminate shadows. Reflectors or addi-

ctronic flash can be used to brighten shadows. One
use the camera’s external flash as a fill.
at fits over the lens, changing the light in some way.
hanges the pixels in an image to produce blurring,
s. Photoshop includes several interesting filter effects,
ters.
m that ensures that an internal or external electronic
g the exposure cycle. A digital SLR’s flash sync speed
n be used with flash, ordinarily 1/200th of a second
is turned off ). See also front-curtain sync (first-cur-
econd-curtain sync).
n the film and the optical center of the lens when the
measured in millimeters.
to the optical access, that passes through the focal
us when the lens is set at infinity. A focal plane indi-
e) is painted on the top surface of the Sony Alpha to
automatic focus feature of a camera to change focus

t and the camera changes. One type of focus track-
chanism anticipates the motion of the object being
o suit.
nd prepare it to accept files.
hat produces fringes of color around the edges of sub-
focus the various wavelengths of light onto the same
roublesome with backlit images.
front-curtain sync (first-curtain sync) The defau

nization technique, originally associated with focal
traveling set of curtains, including a front curtain, wh
sor, and a rear curtain, which follows at a distance d
ceal the film or sensor at the conclusion of the expos
the entire sensor must be exposed at one time to the
is exposed after the front curtain has reached the othe
the rear curtain begins to move. Front-curtain sync c
ning of this period when the shutter is completely op
tain of the focal plane shutter finishes its moveme
With slow shutter speeds, this feature can create a b
showing as patterns that follow a moving subject wit
at the beginning of the blur trail. See also rear-curtai
front lighting Illumination that comes from the dir
lighting and sidelighting.
f/stop The relative size of the lens aperture, which h
depth-of-field. The larger the f/stop number, the sm
graduated filter A lens attachment with variable
another. A graduated neutral density filter, for exam
density portion is concentrated at the top of the len
portion at the bottom, thus reducing the amount of
not interfering with the exposure of the landscape in
can also be split into several color sections to provide
of the image.
gray card A piece of cardboard or other materia
reflectance. Gray cards can be used as a reference fo
for setting white balance.
high contrast A wide range of density in a print, n
highlights The brightest parts of an image contain
histogram A kind of chart showing the relationship
of 256 vertical bars, one for each brightness level. A
the Sony Alpha can display during picture review, ty
or more slopes and peaks, depending on how man
tones are present in the image. The Alpha can also dis
ness, as well as the red, green, and blue channels of
otography
ult kind of electronic flash synchro-

plane shutters, which consists of a
hich opens to reveal the film or sen-
determined by shutter speed to con-
sure. For a flash picture to be taken,
e brief flash exposure, so the image
er side of the focal plane, but before
causes the flash to fire at the begin-
pen, in the instant that the first cur-
ent across the film or sensor plane.
blur effect from the ambient light,
th the subject shown sharply frozen
in sync (second-curtain sync).
rection of the camera. See also back-
helps determine both exposure and

maller the f/stop itself.
density or color from one edge to
mple, can be oriented so the neutral
ns’s view with the less dense or clear
f light from a very bright sky while
n the foreground. Graduated filters
e a color gradient between portions
al with a standardized 18-percent

or determining correct exposure or
negative, or other image.

ning detail.
p of tones in an image using a series
A histogram chart, such as the one
ypically looks like a curve with one
ny highlight, midtone, and shadow
splay separate histograms for bright-
an image.
hot shoe A mount on top of a cam
ing an electrical connection betwee
prietary, non-standard hot shoe.
hyperfocal distance A point of foc
ity appears to be acceptably sharp.
of four feet, everything from two f
tance varies by the lens and the ap
shot without warning, sometimes it
and set the lens to infinity, or, bett
off a quick picture without having t
eras as their autofocus locks in.
image rotation A feature that sens
tical orientation. That information
and compatible software applicatio
rect orientation.
image stabilization A technology t
SteadyShot implementation, is achi
Some other vendors, such as Nikon
movements of the camera (which m
designed to provide it).
incident light Light falling on a su
International Organization for St
vides standards used to represent f
camera’s sensor. Digital camera sens
interpolation A technique digital
new pixels required whenever you r
the values of surrounding pixels. D
use interpolation to create pixels in
ing the apparent resolution or color
ISO See International Organizatio
jaggies Staircasing effect of lines th
pixels that are too large to represen
JPEG A file “lossy” format (short fo
24-bit color and reduces file sizes b
generally use JPEG compression to p
how much compression is used (and
by selecting from among the Standa
by your camera. See also RAW.
Glossary 291
mera used to hold an electronic flash, while provid-

en the flash and the camera. Sony cameras use a pro-
cus where everything from half that distance to infin-

For example, if your lens has a hyperfocal distance
feet to infinity would be sharp. The hyperfocal dis-
perture in use. If you know you’ll be making a grab
t is useful to turn off your camera’s automatic focus,
ter yet, the hyperfocal distance. Then, you can snap
to wait for the lag that occurs with most digital cam-
ses whether a picture was taken in horizontal or ver-

n is embedded in the picture file so that the camera
ons can automatically display the image in the cor-
that compensates for camera shake, which, in Sony’s

ieved by adjusting the position of the camera sensor.
n and Canon, move the lens elements in response to
means that the feature is available only with lenses
urface.
tandardization (ISO) A governing body that pro-
film speed, or the equivalent sensitivity of a digital
sitivity is expressed in ISO settings.
l cameras, scanners, and image editors use to create
resize or change the resolution of an image based on
Devices such as scanners and digital cameras can also
addition to those actually captured, thereby increas-
r information in an image.
on for Standardization (ISO).
hat are not perfectly horizontal or vertical, caused by
nt the line accurately. See also anti-alias.
or Joint Photographic Experts Group) that supports
by selectively discarding image data. Digital cameras
pack more images onto memory cards. You can select
d, therefore, how much information is thrown away)
ard, Fine, Super Fine, or other quality settings offered
Kelvin (K) A unit of measure based on the absolute

zero is zero; it’s used to describe the color of conti
applied when setting white balance. For example, d
about 5,500K, and a tungsten lamp has a temperatu
lag time The interval between when the shutter is p
ally taken. During that span, the camera may be au
ing exposure. With digital SLRs like the Sony Alph
with non-dSLRs, the elapsed time easily can be one
latitude The range of camera exposures that prod
ticular digital sensor or film.
lens flare A feature of conventional photography th
let. It is an effect produced by the reflection of ligh
optical lens. Bright light sources within or just outsi
Flare can be reduced by the use of coatings on the le
hoods. Photographers sometimes use the effect as a
includes a filter that lets you add lens flare at your w
lighting ratio The proportional relationship betw
the subject from the main light and other lights, exp
lossless compression An image-compression schem
image detail. When the image is decompressed, it is
lossy compression An image-compression scheme,
files by discarding image information, which can aff
macro lens A lens that provides continuous focusi
ups, often to a reproduction ratio of 1:2 (half life-si
maximum burst The number of frames that can
until the buffer fills.
midtones Parts of an image with tones of an interm
75 percent brightness range. Many image-editing fea
tones independently from the highlights and shadow
mirror lock-up The ability of the Alpha to retract i
sor for cleaning.
Multi segment metering. An exposure measuring s
in the frame to calculate the correct f/stop and shut
neutral color A color in which red, green, and blue
ducing a gray.
otography
temperature scale in which absolute

inuous-spectrum light sources and
daylight has a color temperature of
ure of about 3,400K.
pressed and when the picture is actu-
utomatically focusing and calculat-
ha, lag time is generally very short;
e second or more.
duces acceptable images with a par-
hat is both a bane and a creative out-

ht internally among elements of an
ide the field of view cause lens flare.
ens elements or with the use of lens
creative technique, and Photoshop
whim.
ween the amount of light falling on
pressed in a ratio, such as 3:1.
me, such as TIFF, that preserves all
s identical to the original version.
, such as JPEG, that creates smaller
fect image quality.
ing from infinity to extreme close-
ize) or 1:1 (life-size).
be exposed at the current settings
mediate value, usually in the 25 to

atures allow you to manipulate mid-
ws.
its mirror to allow access to the sen-
system that uses 40 different zones

tter speed.
e are present in equal amounts, pro-
neutral density filter A gray cam
the camera without affecting the co
noise In an image, pixels with ran
ital photographs tends to be the pr
particularly when you’ve set your ca
noise reduction A technology use
tion in a digital picture, usually cau
ratings.
normal lens A lens that makes the
is like that of the original scene, typ
overexposure A condition in whi
ducing a dense negative or a very b
pincushion distortion A type of le
of an image are bent inward, produ
barrel distortion.
polarizing filter A filter that force
vibrate only in a single plane, redu
surface of objects.
RAW An image file format, such a
all the unprocessed information cap
RAW files are very large compared t
gram such as Sony Image Data Con
downloaded from the camera.
rear-curtain sync (second-curtai
chronization technique, originally
of a traveling set of curtains, includ
film or sensor) and a rear (second)
shutter speed to conceal the film or
picture to be taken, the entire sensor
sure, so the image is exposed after
focal plane, but before the rear cur
flash to fire at the end of the expos
the focal plane shutter begins to m
ate a blur effect from the ambient l
ject with the subject shown sharp
shooting a photo of The Flash, the
behind him. See also front-curtain s
Glossary 293
mera filter that reduces the amount of light entering

olors.
ndomly distributed color values. Visual noise in dig-
roduct of low-light conditions and long exposures,
amera to a higher ISO rating than normal.
ed to cut down on the amount of random informa-
used by long exposures and/or increased sensitivity
e image in a photograph appear in a perspective that

pically with a field of view of roughly 45 degrees.
ich too much light reaches the film or sensor, pro-
bright/light print, slide, or digital image.
ens distortion in which lines at the top and side edges
ucing an effect that looks like a pincushion. See also
es light, which normally vibrates in all directions, to

ucing or removing the specular reflections from the
as the ARW format in the Sony Alpha, that includes

ptured by the camera after conversion to digital form.
to JPEG files and must be processed by a special pro-
nverter SR, or Adobe’s Camera Raw filter after being
n sync) An optional kind of electronic flash syn-

associated with focal plane shutters, which consists
ding a front (first) curtain (which opens to reveal the
curtain (which follows at a distance determined by
sensor at the conclusion of the exposure). For a flash
r must be exposed at one time to the brief flash expo-
the front curtain has reached the other side of the
rtain begins to move. Rear-curtain sync causes the
sure, an instant before the second or rear curtain of
move. With slow shutter speeds, this feature can cre-
light, showing as patterns that follow a moving sub-
ply frozen at the end of the blur trail. If you were
e superhero would appear sharp, with a ghostly trail
sync (first-curtain sync).
red-eye An effect from flash photography that app

red, or an animal’s yellow or green. It’s caused by lig
eye and is most pronounced in dim illumination (w
when the electronic flash is close to the lens and, ther
Image editors can fix red-eye through cloning othe
orange ones.
RGB color A color model that represents the three c
by devices such as scanners or monitors to reproduc
mode by default, and even displays CMYK images b
saturation The purity of color; the amount by whic
or gray.
selective focus Choosing a lens opening that produc
this is used to isolate a subject in portraits, close-ups,
ing most other elements in the scene to be blurred.
self-timer A mechanism that delays the opening of
the release has been operated.
sensitivity A measure of the degree of response of
using the ISO setting.
shadow The darkest part of an image, represented
low numeric values.
sharpening Increasing the apparent sharpness of
between adjacent pixels that form an edge.
shutter In a conventional film camera, the shutter is
a curtain, a plate, or some other movable cover that c
reaches the film. Digital cameras may use actual mech
ter speeds (less than 1/160th second) and an electro
Shutter priority An exposure mode, represented b
dial, in which you set the shutter speed and the ca
f/stop. See also Aperture priority.
sidelighting Applying illumination from the left o
backlighting and front lighting.
slave unit An accessory flash unit that supplemen
electronically when the slave senses the light output
waves. Slave units can also be trigged by the preflas
sure, so you may need to set your main flash to Man
otography
pears to make a person’s eyes glow

ght bouncing from the retina of the
when the irises are wide open) and
refore, prone to reflect directly back.
er pixels over the offending red or
colors—red, green, and blue—used

ce color. Photoshop works in RGB
by converting them to RGB.
ch a pure color is diluted with white
ces a shallow depth-of-field. Usually

, and other types of images, by caus-
f the shutter for some seconds after
a film or sensor to light, measured
d on a digital image by pixels with
an image by boosting the contrast
s a mechanism consisting of blades,

controls the time during which light
hanical shutters for the slower shut-
onic shutter for higher speeds.
by the letter S on the Alpha’s mode
amera determines the appropriate
or right sides of the camera. See also
nts the main flash, usually triggered

by the main unit, or through radio
sh normally used to measure expo-
nual to avoid this.
slow sync An electronic flash sync
that ambient light is recorded by th
nation. This allows the background
specular highlight Bright spots in
Spot metering An exposure system
resented by the circle in the center
meter and Multi segment meter.
sRGB One of two color space cho
ting is recommended for images tha
this color space matches that of the
itor fairly closely. See also Adobe RG
subtractive primary colors Cyan
that theoretically absorb all color an
ate a muddy brown, so black is ad
combination of the three colors and
to differentiate it from blue in the R
time exposure A picture taken by
more than one second. The camera
blur during the long exposure. For
the Bulb setting.
through-the-lens (TTL) A syste
through the actual lens taking the p
tungsten light Light from ordinary
orescent illumination.
underexposure A condition in wh
ducing a thin negative, a dark slide
unsharp masking The process for
an image, increasing sharpness, esp
vignetting Dark corners of an ima
small for the field of view, a lens th
erated artificially using image-editin
white balance The adjustment of a
source. Interior illumination is relati
eras like the Alpha set correct white b
Image editors can often do some co
wrong white balance setting, especi
information originally captured by
Glossary 295
chronizing method that uses a slow shutter speed so

he camera in addition to the electronic flash illumi-
d to receive more exposure for a more realistic effect.
n an image caused by reflection of light sources.
m that concentrates on a small area in the image, rep-
of the Alpha’s viewfinder. See also Center weighted
oices available with the Sony Alpha. The sRGB set-

at will be output locally on the user’s own printer, as
typical inkjet printer and a properly calibrated mon-
GB.
n, magenta, and yellow, which are the printing inks
nd produce black. In practice, however, they gener-
dded to preserve detail (especially in shadows). The
d black is referred to as CMYK. (K represents black,
RGB model.)
y leaving the shutter open for a long period, usually
a is generally locked down with a tripod to prevent
exposures longer than 30 seconds, you need to use
em of providing viewing and exposure calculation

picture.
y room lamps and ceiling fixtures, as opposed to flu-
hich too little light reaches the film or sensor, pro-

e, a muddy-looking print, or a dark digital image.
r increasing the contrast between adjacent pixels in
pecially around edges.
age, often produced by using a lens hood that is too
hat does not completely fill the image frame, or gen-
ng techniques.
a digital camera to the color temperature of the light
ively red; outdoor light is relatively blue. Digital cam-
balance automatically or let you do it through menus.
olor correction of images that were exposed using the
ially when working with RAW files that contain the
the camera before white balance was applied.
This page intenti
ionally left blank
A
A (automatic) AF, 18–19, 161, 166–16
A (Aperture Priority) mode, 16
bracketing in, 131
with Intelligent preview, 139
Program Shift feature in, 113–114
sync speed problems with, 228
working with, 120–122
AC power
for monolights, 242
for studio flash, 241
accessory shoe, 45
cover, 4
for flash, 215, 225
accuracy, contrast detection and, 161
acrylic shields for LCD, 265
action-stopping. See freezing action
Adams, Ansel, 215
ADI (Advanced Distance Integration)
flash, 216, 231
lenses, 195
Adobe Camera Raw, 63, 255
Photoshop’s ACR plug-in, 256–260
Adobe Lightroom, 248
Adobe Photoshop/Photoshop Element
255
Adobe Camera Raw plug in, 256–26
Basic tab of ACR dialog box, 259
dust, dealing with, 274, 276
Lens Correction filter for color fringe
206
Merge to HDR command, 130
noise reduction with, 134
opening RAW image in, 257–259
Index
Photo Downloader, transferring images
with, 253–254
67
transferring images with, 250, 252
white balance, adjusting, 225
Adobe RGB, 67–69
sRGB compared, 68
AEL button, 39–40
Custom menu options, 82
Manual Shift feature with, 114
for reviewing images, 25–26
AF (autofocus). See also AF area; focus
modes; focus points
center spot, viewfinder information on,
53–54
contrast detection, 154, 160–161
Detailed information display, 43
drive speed, Custom menu options, 80
for first lenses, 193
micro adjustment options, Setup menu,
101
modes, 166–168
phase detection, 154–159
sensors, 157–159, 164–166
supplemental AF points, 158–159
viewfinder information, 53–54
ts, working with, 153–161
AF-A setup, Recording menu, 71–72
60 AF area
Custom menu display options, 80
Detailed information display, 43, 51
es, Enlarged information display, 44, 51
Quick Navi screen settings, 105
Recording menu options, 72
setting, 168
viewfinder information, 53
AF illuminator, 31–32 audio

Recording menu options, 73 Audio
AF/MF button, 18, 37–38 Auto
Custom menu options, 78–79 equ
AF sensors, 154, 157–159, 164–166 wo
viewfinder information on, 53 Auto
AF w/shutter option, Recording menu, auto w
73–74
air blowers. See blower bulbs autofl
air canisters/compressors, avoiding, 279 autofo
air cleaning sensors, 278–280 Autom
Alien Bees’ monolights, 242 Autum
Allway Sync, 65 AWB
ambient light Qu
Custom menu ambient & flash setting,
85–86
ghost images and, 229 B
short exposures and, 144 back f
angles back v
of light, 213 backg
with telephoto lenses, 205 backi
with wide-angle lenses, 202 backl
aperture. See also f/stops barn d
adjusting, 113 barrel
circles of confusion and, 162–164
Detailed information display, 43, 50 batter
Enlarged information display, 44, 50 cha
of first lens, 193 com
with Intelligent preview, 139 De
light and, 111 En
prime lenses, maximum aperture of, 198 for
viewfinder information, 53–54 for
zoom lenses, maximum aperture of, 198 ini
Apple Aperture, 248 ins
application software CD, 5 for
APS-C cameras, 60–61 sta
crop factor in, 188–191 for
size capture options, Setup menu, batter
102–103 on
architectural photography and cropped beepe
sensor cameras, 191 Bibbl
ARW file extension, 62 BION
aspect ratio black
Detailed information display, 43, 51 wit
Enlarged information display, 44, 51 Cr
Recording menu options, 61–62 black
viewfinder information, 53, 55 inc
otography
o, Setup menu options, 100

o/Video-Out port, 35
mode, 15–16
uivalent exposures and, 113
orking with, 119–120
review, Custom menu options, 80–81
white balance. See AWB (automatic
white balance)
lash, setting, 237
ocus. See AF (autofocus)
matic AF, 18–19, 161, 166–167
mn Creative Style, 183–184
(automatic white balance), 178
uick Navi screen settings, 105
focus, 169
view of camera, 36–44
grounds, 244
ing up files on hard drive, 65
lighting, 107
doors, 244
l distortion with wide-angle lenses,
203
ries, 4, 6
arging, 6–7
mpartment door, 48
etailed information display, 43, 51
nlarged information display, 44, 51
r firmware upgrades, 263
r HVL-F58AM flash unit, 233
itial setup for, 6–7
serting or removing, 6–7
r monolights, 242
andby mode for power-saving, 11
r studio flash, 241
ry chargers, 4
n initial setup, 6–7
er, Setup menu options, 100
le Professional, 255
NZ chips, 63
k and white
th Adobe Camera Raw plug-in, 259
reative Style, 183, 185
k body radiators, 221
candescent light as, 222
blacks with Adobe Camera Raw plug-i
259
blower bulbs
sensor cleaning with, 278–280
vestibule, cleaning, 275–276
blur
bokeh, 207–208
contrast detection and, 160
with telephoto lenses, 206
waterfalls, bluring, 150–151
body cap, 4
removing, 7
bokeh, 207–208
Bosworth, Kris, 219–220
bottom view of camera, 48
bounce flash
with HVL-F36AM flash unit, 235
quick shift bounce system, 233
for softening light, 240
bowing-outward lines with wide-angle
lenses, 203
box, unpacking, 2–5
Bracket: Cont. drive mode, 23–24
Bracket: Single drive mode, 24
bracketing. See also white balance
bracketing
in A (Aperture Priority) mode, 131
base value, adjusting, 130
continuous-shot exposure bracketing,
Custom menu bracket order options,
DRO bracketing, 130
HDR (High Dynamic Range) and,
130–131
single-shot exposure bracketing, 129
brightness. See also D-Range Optimiz
histograms; LCD
with Adobe Camera Raw plug-in, 25
Creative Style parameter, 186
brush cleaning sensors, 278, 280–281
bugs in firmware, 262
bulb blowers. See blower bulbs
bulb exposures, 146–147
Index 299
in, C
C (continuous) AF, 18–19, 161, 166–167
C (Custom) button, 41, 84
Detailed information display, 43
Enlarged information display, 44
histograms, displaying, 135
cables. See also USB cables
video cables, 5
calibrating lenses, 169
camera shake. See also SteadyShot
telephoto lenses and, 205–206
viewfinder, warning in, 53–55
wide-angle lenses and, 202
capacitors, 215
card readers, 26–27
netbooks linked to, 267–268
power saving with, 93
transferring images to computer with,
26–27, 252–254
e
card safes, 268
Carson MiniBrite magnifier, 282–283
catadioptric lenses, 207
CCD sensors and noise, 132
CD-ROM for application software, 5
center-weighted metering, 17–18, 117–118
chromatic aberration
ED lenses and, 195
, 129 with telephoto lenses, 206
, 86 with wide-angle lenses, 202–203
CIPA (Camera and Imaging Products
Association), 6
circles of confusion, 162–164
bokeh and, 207–208
cleaning. See also sensor cleaning
zer; lenses, 275
vestibule, 275–276
59 Clear Creative Style, 183–184
cloning out dust spots, 276
close-ups
lenses for, 196
cloudy white balance (WB), 179
CMOS sensors and noise, 132
Collins, Dean, 213 conve

color filter option, 180
color fringing. See chromatic aberration Corel
color rendering index (CRI), 225 tra
color sampler with Adobe Camera Raw Corel
plug-in, 258 Corel
color space, Recording menu options, Corel
67–69 cost
color temperature, 176, 221. See also white of
balance (WB) of
of daylight, 221–222 of
of fluorescent light, 224 Cover
colors. See also histograms cRAW
of light, 213 bra
Compact Flash cards. See also memory Qu
cards RA
slot for, 32–33 Re
computers. See also transferring images to Creat
computer cus
managing files on, 65 De
memory cards, formatting, 14 par
contact lenses, diopter correction for, 8–9 Qu
contents of box, 2–5 Re
Continuous adv. drive mode, 23–24 ste
continuous lighting wo
basics of, 221–225 crop f
calculating exposure with, 216 tel
cost of, 219 cropp
diffusing light, 239–240 cropp
evenness of illumination with, 218 wit
flash compared, 215–221 cro
flexibility of, 220 DT
freezing action with, 219 cross-
previewing with, 216–217 curvil
continuous shooting, 174–176 curvin
exposure bracketing, 129
contrast Custo
with Adobe Camera Raw plug-in, 259 Custo
Creative Style parameter, 186 AE
histograms for fixing, 137 AF
telephoto lenses, problems with, 206–207 AF
contrast detection, 154, 160–161 AF
control dial AF
Custom menu options, 83 Au
exposure compensation, options for, 83 Bra
lock options, 83–84 bu
setup options, 83
otography
erging lines with wide-angle lenses,

202
l Paint Shop Pro, 256
ansferring images to, 250
l Painter, 256
l Photo Paint, 255
l PhotoImpact, 256
continuous lighting, 219

flash, 219, 232
lenses, 192
r Open notice, 10
W
acketing and, 131
AW formats compared, 64–65
ecording menu options, 62
tive Styles
stomizing, 185–186
rameters in, 186
ecording menu options, 66–67
eps for changing, 67
factor, 188–191
lephoto extenders and, 209
ped-sensor cameras, 191
ping
op factor, 188–191, 209
T lenses and, 190
-type focus point, 156–157
linear lenses, 203
ng inward lines with telephoto lenses,
206
om button. See C (Custom) button
om menu, 78–86
EL button options, 82
F area display options, 80
F drive speed options, 80
F/MF button options, 78–79
F/MF control options, 79
uto review options, 80–81
acket order options, 86
utton ops., 84
Ctrl dial lock options, 83–84
Ctrl dial setup options, 83–84
Dial exp. comp options, 83
Exp. comp. set option, 85–86
Focus hold button, 80
Preview function options, 81
Rec. info. DISP/Beep/PC submenu,
Release w/o card options, 84
resetting defaults, 86
D
D-Range Optimizer
bracketing, 130
Enlarged information display, 44, 52
Intelligent preview, adjusting with,
138–139
Recording menu options, 65–66
settings in, 182–183
Dali, Salvador, 144
dark areas with wide-angle lenses, 204
dark flash photos with telephoto lense
207
darkness, long exposures and, 150–15
dates and times
DPOF setup with date imprint, 90
setting, 12
Setup menu options, 95
David Busch’s Quick Snap Guide to
Lighting, 237
dawn, color temperature at, 222–223
daylight, 215
color temperature of, 221, 222
incandescent light, mixing, 239
white balance (WB), 177–179
DC-IN port, 35
Deep Creative Style, 183–184
defaults, restoring
Custom menu defaults, 86
Recording menu defaults, 77–78
Setup menu defaults, 103
degrees Kelvin, 221, 224
Index 301
delayed exposures, 152. See also self-timer

Delete button, 44
deleting
confirmation options, 100
currently displayed images, 25
Playback menu options, 87–88
85 depth-of-field (DOF). See also Intelligent
preview
AF (autofocus) and, 153
circles of confusion, 162–164
with wide-angle lenses, 200, 202
depth-of-focus and dust, 273–274
depth-of-light, 218
Detailed display, 12, 43, 50–52
exposure compensation information, 126
Quick Navi screen in, 103–106
diffusers, 240
diffusing light, 239–240
digital image processing (DIP) chips, 63
Digital Image Recovery, 270
Digital SLR Pro Secrets, 142, 280
diopter adjustment dial, 8–9, 36–37
4 diopter correction, 8–9
es, Direct Manual Focus (DMF), 71–72
DISP button, 12, 42–43
51 for reviewing images, 25–26, 52
display panel, 46, 48
illumination button, 46, 48
distance scale on lens, 50
distortion
barrel distortion with wide-angle lenses,
203
converging lines with wide-angle lenses,
202
pincushion distortion with telephoto
lenses, 206
with wide-angle lenses, 201
downloading. See also transferring images
to computer
firmware upgrades, 262–264
with Picture Motion Browser, 247
DPOF (Digital Print Order Format)
dragging and dropping images to Exclu

computer, 254 expos
Drive button, 23, 46–47, 84
bracketing, setting up, 129
for continuous shooting mode, 174–175 wit
drive modes, 23–24. See also self-timer cal
Enlarged information display, 44, 51 con
Quick Navi screen settings, 105 del
DRO (Dynamic Range Optimization) adv. equ
bracket drive mode, 24 exp
DT lenses, 189–190, 195 fla
duration of light, 111 Int
dusk, color temperature at, 222–223
dust, 271–272 Ma
avoiding, 275–276 Pro
body cap and, 7 sho
cloning out spots, 276 expos
dealing with, 273–274 cha
FAQs about, 272–273 con
identifying, 273–274 De
Dynamic Range Optimization. See D- En
Range Optimizer EV
Int
E
Eclipse solution, 281, 284 ISO
ED lenses, 195 wit
Edgerton, Harold, 145 Qu
Edison, Thomas, 222 Re
editing photos, 255–260 Expos
image editors, 255–256 expos
18-percent gray standard, 114–116 cho
electrical contacts on lens, 49 De
emitted light, 111 En
Enlarged display, 12–13, 38–39, 43–44, extens
50–52 extern
Quick Navi screen in, 103–104 eyecu
Enter button, 39 eyegla
equivalent exposures, 113 eyepie
EV (exposure value). See exposure cor
compensation sen
EV scale, viewfinder information on, shu
53–54 shu
evenness of illumination vie
with continuous lighting, 218
with flash, 218
otography
usive display setting, 84

sure, 107–139. See also bracketing;
exposure compensation; histograms;
ISO sensitivity; long exposures
lculation, 114–116
flash, calculating for, 216, 231
ntinuous lighting, calculation with, 216
layed exposures, 152
uivalent exposures, 113
planation of, 108–114
ash, calculating for, 216, 231
telligent preview, adjusting with,
137–139
anual Shift feature, 114
ogram Shift feature, 113–114
ort exposures, 142–145
sure compensation, 22–23
anges, making, 123–124
ntrol dial options, 83
etailed information display, 43, 51, 126
V scale, viewfinder information on,
53–54
telligent preview, adjusting with,
138–139
O adjustments and, 127
th M (Manual) mode, 126
uick Navi screen settings, 104–105
ecording menu exposure step option, 71
sure compensation button, 46–47, 84
sure modes
oosing, 116, 119–126
sion tubes, 210
nal flash. See flash
up, 3
asses, diopter correction for, 8–9
ece
rrectors, 8
nsors, 36–37
utter, 24
utter lever, 36–37
ewfinder eyepiece, 36–37
F
f/stops. See also aperture
bokeh and, 207
equivalent exposures, 113
of first lens, 193
light and, 111
shutter speeds and, 112
stops compared, 116
faces with telephoto lenses, 206
factory settings, restoring. See defaults
restoring
falling back look with wide-angle lens
201
field of view with wide-angle lenses, 2
file numbering, Setup menu options, 9
fill flash
HVL-F20AM flash unit as, 235–236
setting, 237–238
for softening light, 240
filter thread on lens, 50
filters
Color filter option, 180
dust spots, filtering out, 276
neutral density filters, 148
wide-angle lenses, polarizing filters w
204
Finelight Studios, 213
firmware
updating, 262–264
version, displaying, 263
first-curtain sync, 226–229
ghost images and, 229–230
first lenses, 192–194
fisheye lenses, 203
flare with telephoto lenses, 207
flash. See also first-curtain sync; flash
compensation; second-curtain sy
sync speeds; wireless flash
ambient & flash setting, Custom men
85–86
basic setups for, 241
basics of, 225–231
bracketing and, 131
Index 303
calculating exposure for, 216, 231

continuous lighting compared, 215–221
cost of, 219
diffusing light, 239–240
evenness of illumination with, 218
flexibility of, 220
freezing action with, 219
high-speed sync, 229
M (Manual) mode and, 124
s,
previewing with, 216
ses,
200 setting, 237
96 short exposures and, 143–144
slow sync, 231
59 telephoto lenses, dark flash photos with,
207
6
flash charging indicator in viewfinder,
53–54
flash EV compensation
Quick Navi screen settings, 104–105
with,
Recording menu option, 70, 236
setting, 236–238
flash sync terminal, 33–34
flexibility
of continuous lighting, 220
of flash, 220
fluorescent light, 215. See also continuous
lighting
color temperature of, 224
EV
Fn (Function) button, 38, 58
ync;
bracketing, setting up, 129
nu, Detailed information display, 43
Enlarged information display, 44
focal length of cropped sensor cameras,
191
focus. See also AF (autofocus); focus front

modes; focus points front-
fine-tuning focus of lenses, 169–170 front
target, 171–172 front
telephoto lenses, selective focus with, 204 full-fr
viewfinder information on focus status, cro
53–54
Focus hold button, 80
with Intelligent preview, 139 G
focus modes, 161. See also MF (manual G len
focus) gamu
A (automatic) AF, 18–19, 161, 166–167 GE co
C (continuous) AF, 18–19, 161, 166–167 gels, l
choosing, 18–19 Gepe
Detailed information display, 51 GGS
lever, 33–34 ghost
S (single-shot) AF, 18–19, 161, 166–167 Giotto
focus points, 162–168 glass s
circles of confusion, 162–164 glasse
contrast detection and, 160 glossa
cross-type focus point, 156–157 Goldw
local focus, 21 gravit
prediction of, 164 gray c
selecting, 20–21 graysc
spot focus, 21 guide
supplemental AF points, 158–159 wit
wide focus point, 20–21 wit
focus ring, 49
focusing screen, Setup menu options, 101
foggy photos with telephoto lenses, 206
H
folders halog
naming folders, 97 Halsm
new folders, creating, 97–98 hand
selecting folders, 97 Hand
Setup menu options, 97–98
switching between, 98 hard d
foregrounds Hasse
with telephoto lenses, 204 hazy p
with wide-angle lenses, 200 HDM
foreign language options, 95 po
formatting. See memory cards Set
freezing action tel
with continuous lighting, 219 HDR
with flash, 219
bra
short exposures for, 142–145
HDT
SteadyShot and, 211
otography
control dial, 31–32, 46

-curtain sync. See first-curtain sync
focus, 169
view of camera, 31–35
rame cameras
op factor and, 188–191
nses, 195
uts, 67–69
olor rendering index (CRI), 225
lighting, 220
card safes, 268
glass LCD protectors, 265
t images, 219, 229–230
os Rocket blower bulb, 276, 279
shields for LCD, 265
es, diopter correction for, 8–9
ary, 285–295
wyn, Samuel, 215
ty and dust, 275
cards, 114–116
cale. See black and white
e numbers (GN)
th HVL-F42AM flash unit, 235
th HVL-F58AM flash unit, 232
gen light, 222

man, Philippe, 144
grip, 31–32
d tool with Adobe Camera Raw plug-
in, 258
drive, backing up files on, 65
elblad H3D-39 camera, 189
photos with telephoto lenses, 206
MI
ort, 35
tup menu output options, 94
levision, cable for viewing images on, 94
R (High Dynamic Range), 109–110.
See also D-Range Optimizer
acketing and, 130–131
TV, viewing images on, 94
help from Sony support site, 263
high ISO noise, 132–134
Recording menu option, 74–75
high-speed photography, 142–145
with HVL-F58AM flash unit, 233–2
histograms, 134–137
Custom button for, 41
displaying, 135
hoods for protecting LCD, 265
horizontally-aligned focus, 156–157
hot pixels, 272–273
hot shoe. See accessory shoe
HS sync. See high-speed sync
HVL-F20AM flash unit, 235–236
HVL-F36AM flash unit, 219, 229, 235
HVL-F42AM flash unit, 229, 235
HVL-F56AM flash unit, 229
HVL-F58AM flash unit, 225, 229,
232–234
high-speed sync with, 233–234
multiple flash feature, 234
wireless trigger for, 233
I
IF lenses, 195
Image Data Converter SR, 63, 245,
250–251
Import Media Files utility, 252
white balance, adjusting, 225
Image Data Lightbox SR, 245
Remote Camera Control with, 249
working with, 248
image editors, 255–256. See also Adob
Photoshop/Photoshop Elements
dust spots, dealing with, 276
image quality. See also JPEG formats;
RAW formats; RAW+JPEG form
of first lens, 193
of prime lenses, 198
of zoom lenses, 198
Index 305
Image Recall, 270

image size
234 image stabilization. See SteadyShot
Import Media Files utility, 252
incandescent light, 215. See also
continuous lighting
color temperature of, 222
daylight, mixing, 239
incorrect slot, forcing cards into, 268
Index button, 39–40
5 index print, DPOF setup with, 90
indium tin oxide (ITO) coating on sensor,
284
information display. See also Detailed
display; Enlarged display
Setup menu options for, 92
initial setup, 5–15
inserting memory cards, 10–11
instruction manual, 5, 57
Intelligent preview, 13, 32
exposure, adjusting, 137–139
in M (Manual) mode, 139
intensity of light, 111
interleaving shots on memory cards, 267
interval photography, 153
inverse square law, 218
invisible people with long exposures, 148
iodine gas light, 222
be iPhoto, Picture Motion Browser with, 246
s ISO button, 46–47, 84
ISO sensitivity. See also high ISO noise
adjusting, 21–22, 113
mat Auto Range options, 127
exposure with, 127
light and, 112
Recording menu ISO auto range option,
71
J lens h
lens m
JPEG formats. See also D-Range
lens m
Optimizer
Lens r
in continuous shooting mode, 176
lenses
Image Data Lightbox SR with, 248
add
AF
RAW formats compared, 63–64
bac
size options, 60–61
cal
cat
K cle
Kelvin scale, 221, 224 com
Kinkade, Thomas, 213 cro
Konica Autoreflex T lens, 187 cur
Krause, George, 215 fin
firs
lig
L ma
Landscape Creative Style, 183–184 mo
landscape photography and cropped no
sensor cameras, 191 per
language options, 95 tun
Large image setting, 60–61 un
lateral/transverse chromatic aberration, light,
202
LCD, 36–37. See also Detailed display; dif
Enlarged display; Intelligent preview du
acrylic shields for, 265 ele
brightness em
power saving options, 93 len
Setup menu options, 92 mu
display panel, 46, 48 ref
glass shields for, 265 sen
hoods for protecting, 265 shu
plastic overlays for, 265 sof
polycarbonate shields for, 265 sou
protecting, 264–265 tra
readouts on panel, 50–52 light a
recording information display, 12–13 Light
rotating information display on, 85 light s
leaping photos, 144 light s
left side of camera, 35 wit
Leica M cameras, 155 zoo
lens bayonet, 49–50 light t
lens hood bayonet, 49 lighti
otography
hoods, 208–209
mounting index, 33–34
multiplier factor, 188–191
release button, 33–34
s, 187–211
d-ons for, 208–211
F micro adjustment options, Setup
menu, 101
ck-up lenses, DT lenses as, 190
librating, 169
tegories of, 200
eaning, 275
mponents of, 49–50
op factor, 188–191
rrent focus, evaluating, 171–172
ne-tuning focus of, 169–170
st lenses, 192–194
ght captured by, 112
aximum aperture for, 193
ounting lenses, 7–8
omenclature of, 195
rspective and, 195–197
ning-up lenses, 171–173
npacking, 4
213–244. See also continuous
lighting; exposure; flash
ffusing light, 239–240
uration of, 111
ements of, 214–215
mitted light, 111
ns, light passed by, 111
ultiple light sources, 241–242
flected light, 111
nsors, light captured by, 112
utter, light passed through, 111
ftening light, 239–240
urce, light at, 111
ansmitted light, 111
areas with wide-angle lenses, 204
t Creative Style, 183–184
stands, 243–244
streaks
th long exposures, 148–149
oming and, 147
trails with long exposures, 148, 150
ing gels, 220
liquid cleaning sensors, 278, 281–282
lithium-ion batteries. See batteries
live view with Alpha DSLR-A850, 13
Local AF area, 168
local focus, 21
long exposure noise, 132–134
long exposures, 146–151
bulb exposures, 146–147
time exposures, 147–148
timed exposures, 146
longitudinal/axial chromatic aberratio
202
low diffraction index glass in lenses, 2
M
M (Manual) mode, 16–17. See also MF
(manual focus)
camera shake warning in, 55
exposure compensation with, 126
with Intelligent preview, 139
ISO adjustments in, 127
Manual Shift feature, 114
macro lenses, 209–210
Mamiya 645 ZD camera, 189
Manual Shift feature, 114
manuals for users, 5, 57
marked images, protecting, 88–89
Mass Storage settings, 98–99
Mean Time Between Failures, 268
Media Recover, 270
Medium image setting, 60–61, 63
memory card access lamp, 36
memory cards, 2. See also remaining s
transferring images to computer
access door, 31–32
Compact Flash card slot, 32–33
compatible cards, 10
computer, formatting in, 14
eggs in one basket argument, 266–26
external backup for, 267
Index 307
2 formatting, 13–15
Playback menu options, 14–15, 88
reformatting, 270
transferring files to computer,
formatting by, 13–14
inserting, 10–11
interleaving shots on, 267
No Card warning, 10
problems with, 267–269
recovering images from, 270–271
reformatting, 270
Release w/o card options, Custom menu,
on, 84
transferring files to computer, formatting
202 by, 13–14
Memory option, Recording menu, 75–77
Memory Stick Pro Duo cards. See also
memory cards
F slot for, 32–33
Menu button, 42, 58
menu start options, 99–100
menus
description of, 58–59
menu start option, Setup menu, 99–100
scrolling through, 58
mercury vapor light, 225
Merge to HDR command, 130
Metered Manual setting, 126
metering mode dial, 40
metering modes
center-weighted metering, 17–18,
117–118
choosing, 116–118
multi segment metering, 17–18, 116–117
selecting, 17–18
shots; spot metering, 17–18, 117–118
r MF (manual focus), 18–19, 161, 167
Micro Adjustment feature, 101, 169
tuning-up lenses with, 171–173
67 Minolta
Maxxum 7000 camera, 188
SRT-101 lens, 187
mirror O
body cap protecting, 7
On/O
dust on, 272
OnTr
mirror lenses, 207
overex
mirror lockup, 24
exp
mode dial, 15–16, 45
his
metering mode dial, 40
modeling light, 225
with HVL-F58AM flash unit, 233 P
monolights, 242 P (Pro
moonlight, 215 Pro
multi segment metering, 17–18, 116–117 syn
multi-selector, 39 wo
for reviewing images, 24–25 PAL s
multiple flash with HVL-F58AM flash panni
unit, 234 Pec-P
multiple light sources, 241–242 Pelica
Perso
N
persp
naming folders, 97
cro
Neat Image, 255
hig
neck straps, 4
mounting ring, 33–34
len
rings, 45–46
phase
netbook, backing up memory cards on,
Photo
267–268
Photo
Neutral Creative Style, 183–184
Ec
neutral density filters, 148
sen
Newton, Isaac, 218
Photo
night
Creative Style Night view, 183–184
long exposures and, 150–151 PictB
Nixon, Richard, 144
No Card warning, 10 Pictur
noise, 74, 132–134. See also high ISO Im
noise; long exposure noise wo
Adobe Photoshop/Photoshop Elements, pincu
reduction with, 134
Noise Ninja, 134, 255 pixel
noon, color temperature at, 221 pixels
normal lenses, 200 his
NTSC (National Television Systems ho
Committee) standard, 93–94
lig
no
otography
Off switch, 11–12, 36–37

rack, 270
xposures, 109
posure compensation and, 123
stograms of, 135–136
ogram) mode, 16
nc speed problems with, 228
orking with, 120
standard, 93–94
ing, SteadyShot and, 211
Pads, 281–282
an card safes, 268
onal Storage Devices for memory
cards, 267
pective. See also distortion
opped sensor cameras and, 191
gh-speed photography, unseen
perspectives with, 144–145
nses and, 195–197
e detection, 154–159
o Rescue 2, 270
ographic Solutions, Inc.
clipse solution, 281, 284
nsor swabs, 281
oshop/Photoshop Elements. See
Adobe Photoshop/Photoshop
Elements
Bridge-compatible printers. See
printing
re Motion Browser, 245
mport Media Files utility, 252
ushion distortion with telephoto
lenses, 206
mapping, 272
s
stograms showing, 134
ot pixels, 272–273
ght and, 112
oise and, 132
plastic overlays for LCD, 265
Playback button, 24, 44
Playback menu, 86–91. See also review
images
Delete options, 87–88
Format option, 14–15, 88
Playback display options, 90
Protect options, 88–89
Slide show options, 90–91
Player, Gary, 215
playing back images. See reviewing im
polarizing filters with wide-angle lense
204
polycarbonate shields for LCD, 265
Portrait Creative Style, 183–184
portraits
backgrounds for, 244
telephoto lenses, flat faces with, 206
power. See also AC power; batteries
Setup menu power save setting, 93
standby mode, 11
switch, 36–37
tips for saving, 93
turning on, 11–12
Pre-Flash TTL, 216
Preview button, 31–32
for Intelligent preview, 137–139
previewing. See also Intelligent preview
with continuous lighting, 216–217
with flash, 216
prime lenses, zoom lenses compared,
198–199
printing, 26
DPOF setup, Playback menu options
89–90
focus target, 171–172
PTP (Picture Transfer Protocol) settin
for, 98
Priority setup option, Recording menu
product photography, backgrounds fo
244
Program Shift feature, 113–114
protecting images, 88–89
PTP (Picture Transfer Protocol) settin
Index 309
Q
quartz-halogen/quartz-iodine light, 222
wing
Quick Navi screen, 38, 58, 103–106
button options, 84
settings on, 104–106
quick shift bounce system, 233
R
RAW format. See also Adobe Camera Raw;
mages Image Data Converter SR
es, bracketing and, 131
contrast, adjusting, 137
cRAW compared, 64–65
D-Range Optimizer with, 181
JPEG formats compared, 63–64
for Merge to HDR, 130
software for working with, 256–260
white balance (WB) in, 225
RAW+JPEG format
advantages of, 64
w Recording menu options, 62–65
rear control dial, 40
rear-curtain sync. See second-curtain sync
rear lens cap, removing, 7–8
recalling shooting settings, 77
Recording menu, 59–78
AF-A setup options, 71–72
s for,
AF area option, 72
AF illuminator options, 73
AF w/shutter option, 73–74
ng
Aspect ratio options, 61–62
Color space options, 67–69
u, 73
Creative Style options, 66–67
or,
Custom button options, 66
D-Range Optimizer options, 65–66
Exposure step option, 71
Flash compensation option, 70, 236
ng, 98 Flash control option, 69
Flash mode option, 69 reveal

High ISO NR option, 74–75
Image size option, 60–61 review
ISO auto range option, 71
Long exp. NR option, 74–75 del
Memory options, 75–77 DI
Priority setup option, 73 pla
Quality options, 62–65 Pla
Rec mode reset option, 77–78 pro
Recover My Photos, 270 RM-S
recovery
with Adobe Camera Raw plug-in, 259 rotati
memory cards, photos from, 270–271 wit
rectilinear lenses, 203 inf
red-eye reduction pla
with Adobe Photoshop/Photoshop
Elements, 253
S
S (sin
reflected light, 111
S (Shu
reflectors, 240
cam
reformatting, 270
wit
registering shooting options, 75–77
ISO
Release w/o card options, Custom menu,
84 Pro
remaining shots wo
Detailed information display, 43, 51 SAL C
determination of, 14
SAL-3
viewfinder information, 53, 55
SAL-5
Rembrandt, 213
SAL-5
Remote Camera Control, 245, 249–250
SAL-1
time-lapse photography with, 153
SAL-1
Remote Commander, 24, 152
clip, 5 SAL-1
remote infrared sensors, 31–32 SAL-2
time exposures with, 147
remote control, 152. See also Remote SAL-2
Commander; wireless flash
port, 35 SAL-2
remote infrared sensors, 31–32
RescuePro software, 270–271 SAL-7
restoring factory settings. See defaults,
restoring SAL-7
retouching with Adobe Camera Raw plug-
in, 258 SAM
otography
ling images with high-speed

photography, 144
wing images, 24–26. See also
thumbnails
leting images, 87–88
ISP button for, 52
ayback display options, 90
ayback menu delete options, 87–88
otecting images, 88–89
S1AM Remote Commander. See
Remote Commander
ing, 39–40
formation display on LCD, 85
ayback display, 90
ngle-shot) AF, 18–19, 161, 166–167

utter Priority) mode, 16–17
mera shake warning in, 55
th Intelligent preview, 139
O adjustments and, 127
Carl Zeiss Vario-Sonnar T* 24-70mm
f/2.8 zoom lens, 192–193
35F14G 35mm f/1.4 wide-angle lens,
194
50F14 50mm f/1.4 lens, 192, 196
50M28 50mm f/2.8 macro lens, 196
100M28 100mm f/2.8 macro lens,
196
135F18Z Carl Zeiss Sonnar T*
135mm f/1.8 telephoto lens, 196
135F28 135mm f/2.8 STF lens, 207
2470Z Carl Zeiss Vario-Sonnar T* 24-
70mm f/2.8 zoom lens, 192–193
2875 28-75mm f/2.8 zoom lens,
193–194
24105 24-105mm f/3.5-4.5 zoom
lens, 192, 193
70200G 70-200mm f/2.8 G-series
telephoto zoom lens, 196
75300 75-300mm f/4.5-5.6 telephoto
zoom lens, 194
lenses, 195
SanDisk’s RescuePro software, 270–27
saturation
scrolling through menus, 58
second-curtain sync, 226–229
ghost images and, 229–230
setting as flash mode, 237
self-timer, 152
eyepiece shutter, closing, 24
lamp, 31–32
using, 23–24
semi-automatic shooting modes. See A
(Aperture Priority) mode; M
(Manual) mode; P (Program) m
S (Shutter Priority) mode
sensor cleaning, 271–284
air cleaning, 278–280
brush cleaning, 278, 280–281
liquid cleaning, 278, 281–282
magnifier-assisted cleaning, 282–283
procedure for, 277–278
Setup menu cleaning mode options,
100–101
shutter position for, 278–279
tape cleaning, 268, 284
sensor focal plane, 45–46
sensor swabs/brushes, 280–282
SensorKlear loupe/wand, 282–283
sensors. See also AF sensors; sensor
cleaning
CCD sensors and noise, 132
CMOS sensors and noise, 132
indium tin oxide (ITO) coating on, 2
Sepia Creative Style, 183, 185
Setup menu, 91–103
AF micro adj. option, 101
APS-C size capture options, 102–103
Audio signals options, 100
Cleaning mode options, 100–101
Date/Time setup options, 95
Delete confirm. options, 100
File number options, 96
Focusing screen options, 101
Folder name options, 97
Index 311
71 HDMI output options, 94

Info. display options, 92
59 Language options, 95
Mass strg. card settings, 98–99
Memory card options, 95
Menu start options, 99–100
Power save setting, 93
Reset default options, 103
Select folder/new folder options, 97–98
USB connection options, 98
Video output options, 93–94
shade white balance (WB), 179
A Shadow (Krause), 215
shadows. See also vignetting
mode; with continuous lighting, 218
filling in, 107
with flash, 218
sharpness
AF (autofocus) and, 154
3 lenses and, 196
shooting modes. See also A (Aperture
Priority) mode; M (Manual) mode;
P (Program) mode; S (Shutter
Priority) mode
selecting, 15–17
shooting options, Recording menu, 75–77
short exposures, 142–145
shots remaining. See remaining shots
shoulder strap, 4
shutter. See also shutter speed
light passed by, 111
self-timer, closing eyepiece shutter with,
284 24
for sensor cleaning, 278–279
Shutter release button, 31, 46
shutter speed. See also second-curtain
3 sync; sync speeds
See also first-curtain sync
adjusting, 113
control dial, Custom menu options for,
83
equivalent exposures, 113
f/stops and, 112 spher

ghost images and, 229 sports
high-speed sync, 229 AF
with Intelligent preview, 139 con
range of speeds, specifying, 122 cro
short exposures, 142–145 JPE
slow sync, 231 me
viewfinder information, 53–54 tel
Sigma macro lenses, 210 Spot A
silhouette effects, 107 Spot b
exposure compensation and, 123 spot f
M (Manual) mode for, 124 spot m
single autofocus, 18–19, 161, 166–167 sRGB
Single-shot adv. drive mode, 23–24 Ad
single-shot exposure bracketing, 129 SSM l
size of lenses, 193 Stand
slide show, Playback menu options, 90–91 stand
slow sync, 231 Stead
Slow Sync button, 39–40 and
Small image setting, 60–61, 63 in
snoots, 244 po
sodium-vapor light, 224 in
soft boxes, 240, 243 sca
softening light, 239–240 sw
software, 245–251. See also specific types tur
application software CD, 5 Stegm
firmware, upgrading, 262–264 steppi
image editors, 255–256 Sto-fe
memory cards, recovering images from, stopp
270–271 stops,
RAW utilities, 256–260 straig
Sony Alpha DSLR-A850
back view of, 36–44 studio
bottom view of, 48 syn
front view of, 31–35 subjec
left side of, 35 ma
top view of, 45–48 tel
Sony Bravia synchronization protocol, 94 wid
Sony support site, 263 Sunse
source, light at, 111 super
speed. See also shutter speed; sync speeds Sylvan
of lenses, 196
of prime lenses, 199
SteadyShot and, 211
of zoom lenses, 199
otography
rical aberration, 207

s photography
F (autofocus) modes and, 164
ntinuous shooting for, 174–176
EG formats for, 64
emory cards for, 266–267
lephoto lenses for, 204
AF area, 168
button, 39
focus, 21
metering, 17–18, 117–118
B, 67–69
dobe RGB compared, 68
lenses, 195
dard Creative Style, 183–184
dby mode, 11
dyShot
d lenses, 210–211
M (Manual) mode, 55
ower saving by turning off, 93
S (Shutter Priority) mode, 55
ale in viewfinder, 53, 55
witch, 42
rning on, 21–22
meyer, Al, 4
ing back with wide-angle lenses, 200
en’s Omni Bounce diffuser, 240
ping action. See freezing action
, f/stops compared, 116
ghtening with Adobe Camera Raw
plug-in, 258
o flash, 215–216, 225, 241–242
nc speed problems with, 228–229
cts
acro focusing and, 209–210
lephoto lenses, close-ups with, 204
de-angle lenses emphasizing, 201
et Creative Style, 183–184
r-telephoto lenses, 200
nia color rendering index (CRI), 225
sync speeds, 226–227. See also first-cu
sync; high-speed sync; second-
curtain sync
problems, avoiding, 227–229
short exposures and, 143–144
slow sync, 231
T
Tamron macro lenses, 210
tape cleaning sensors, 268, 284
target for focus, 171–172
tele-zoom lenses. See telephoto lenses
teleconverters for cropped sensor came
191
telephoto extenders, 209
telephoto lenses, 197, 200, 204–208
bokeh, 207–208
lens hoods for, 209
macro focusing with, 209–210
problems, avoiding, 206–207
television. See also HDMI
HDTV, viewing images on, 94
Remote Commander with, 152
viewing images on, 94
third-party lenses, 187
Through-the-Lens (TTL). See TTL
(Through-the-Lens)
thumbnails, 26
histogram display in, 137
Picture Motion Browser displaying,
246–247
TIFF format, Image Data Lightbox SR
with, 248
time exposures, 147–148
time-lapse photography, 153
timed exposures, 146
times. See dates and times
T* lenses, 195
SAL Carl Zeiss Vario-Sonnar T* 24-
70mm f/2.8 zoom lens, 192–1
SAL-135F18Z Carl Zeiss Sonnar T*
135mm f/1.8 telephoto lens, 1
Index 313
urtain Tokina macro lenses, 210

top view of camera, 45–48
transferring images to computer, 26–28,
252–254
with card readers, 26–27, 252–254
with drag-and-drop, 254
formatting memory card by, 13–14
with USB cables, 26–28
transmitted light, 111
Trash button, 24–25
tripod socket, 48
troubleshooting, 265–271
TTL (Through-the-Lens)
ADI lenses, 195
with fill flash, 237–238
eras, with HVL-F58AM flash unit, 233
Pre-Flash TTL, 216
tungsten light. See incandescent light
U
ultimateslr.com/memory-card-recovery-
php, 270
ultrawide-angle lenses, 197, 200
umbrellas, 2430
underexposures, 107–109
histograms of, 135–136
unmarking images, 88–89
unreal images with high-speed
photography, 144–145
upgrading firmware, 262–264
UPstrap, 4–5
USB cables, 4. See also Remote Camera
Control
R Setup menu connection options, 98
time-lapse photography with, 153
transferring images to computer with,
26–28, 252
USB port, 27, 35
Setup menu connection options, 98
user manuals, 5, 57
UV filters with telephoto lenses, 206
193
196
V white
dri
vertically-aligned focus, 156–157
ord
vestibule, cleaning, 275–276
White
vibrance with Adobe Camera Raw plug-in,
Wide
259
wide-
video
pro
cables, 5
wide f
Setup menu output options, 93–94
wide-
viewfinder
wildli
dust on, 272
cro
eyepiece, 36–37
Ste
Eyepiece Correctors for, 8
tel
information in, 52–55
windo
vignetting
Wind
crop factor and, 189–190
wirele
with wide-angle lenses, 203
set
visible light, 111
vie
visual noise. See noise
Vivid Creative Style, 183–184
Z
W Zagg
Zeiss,
waterfalls, blurring, 150–151
Zeiss
wedding photography, JPEG formats for,
64 dis
white balance (WB). See also AWB zone C
(automatic white balance) Zoom
adjusting, 21–22, 225 zoom
with Adobe Camera Raw plug-in, pri
258–259 zoom
of continuous lighting, 221 zoom
Custom white balance, setting, 180–181 zoom
customizing, 176–181 wit
Detailed information display, 43, 52 len
Enlarged information display, 44, 52 lig
flash and, 179, 225 on
HVL-F58AM flash unit communicating,
233
Intelligent preview, adjusting with,
138–139
setting by color temperature, 180
otography
e balance bracketing, 130

ive mode, 24
der, changing, 131
e balance button, 46–47, 84
AF area, 168
-angle lenses, 200–204
oblems, avoiding, 202–204
focus point, 20–21
-zoom lenses. See wide-angle lenses
ife photography
eadyShot for, 210
lephoto lenses for, 204
ow light, working with, 239
dsor, Duke and Duchess of, 144
ess flash
tting, 237
ewfinder information, 53–54
plastic overlays, 265

, Carl, 195
optics. See also T* lenses
stance scale on, 50
m button, 24–25, 37–38
m lenses, 194
ime lenses compared, 198–199
m ring, 49
m scale, 49
ming in/out
nses, zoom range of, 192
ght streaks and, 147
n reviewing images, 24–25

Why The Sony Alpha DSLR-A850 Needs Special Coverage

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Why The Sony Alpha DSLR-A850 Needs Special Coverage

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DAVID B

Australia, Brazil, Japan, Korea, Mexico, Singa

apore, Spain, United Kingdom, United States

For your lifelo

Printed in the United States of America

uct information and technology assistance, contact us at

stered trademark of Sony Corporation. All other trademarks

ngress Control Number: 2010926275

nology, a part of Cengage Learning

ning is a leading provider of customized learning solutions

ning products are represented in Canada by Nelson

ong learning solutions, visit courseptr.com.

Alexander S. White is an attorney

ve books on Beginning Digital Photography, debut-

y, writer, and amateur photographer. He is the co-

e and function of the Alpha A850’s

roduction to the Alpha’s focus con-

aged up the most alluring features of advanced digi-

d with the Alpha. It’s compact and filled with infor-

Also available are third-party guides to the Alpha, l

like this one. I haven’t been happy

e ready to learn more, I hope you pick up one of my

e to Using Digital SLR Lenses

o dSLR photography with greater depth and detail

Why the Sony Alpha DSLR-A85

Who Are You?

on the market. Why do I concen-

, it’s always wise to consider exactly

ore professional-looking images for their personal or

ore advanced graphics capabilities who want to use

s level can be a little trickier, because the Sony Alpha

d be helpful for you to understand the following:

It’s tough to provide something for everybody, but I a

am going to try to address the needs

only point-and-shoot digital cam-

: There are some quite sophisticated

You understand photography, you

perience to include the Sony Alpha

r advanced shooters: I expect my most discerning

most successful unknown author, I’ve become slightly

oks, this one was written by someone with an incur-

s own merits, and I view technology as just another

As I write this, I’m currently in the throes of upgradi

Meet My Co-Author, Alex

ing my website, which you can find

k, the opportunity to make my sec-

the Maxxum 7D. Many of the basic operations of th

Your Out-of-Box Experience

his new camera are quite similar to

ok at the same time you purchased

nd out what you must know to take

sive box filled with stuff, including

but, with a camera like this, the len

ns is a separate purchase and gets its own box with its

convenience, and make sure you have (at least) the

era. This is hard to miss. The camera is the main rea-

■ Accessory shoe cover. This small cap fits snugly

y on the accessory shoe at the top-

undled with a compatible lens, such

e for your Sony Alpha is packaged

er and its accompanying power cord

suitable neck or shoulder strap,

Figure 1.1 Third-party neck straps, like this UPstrap mod