Ready to upgrade from a compact camera to a more-capable DSLR? Or looking to trade in your old DSLR for a newer, faster, video-capable model that won’t cost you an arm and a leg? Check out the roundup I wrote in this month’s Outdoor Photographer magazine.

INTRO:
Big-Time DSLRs Under $1,000
Packed with power, advanced features and high performance, the latest sub-$1,000 ­­HD SLRs are outstanding options for serious nature photographers
By Michael J. McNamara

It’s hard to believe that the very first DSLR was introduced only 20 years ago, but that’s ancient history in the world of digital cameras. Priced at an astronomical $26,000 for the basic color model, the Kodak DCS-100 had a jury-rigged, 1.3-megapixel camera back attached to a Nikon F3 film SLR and a shoebox-sized 200 MB hard drive that slung painfully over your shoulder. By today’s standards, the DCS-100 was a real clunker—but the same can be said of any DSLR that’s more than five years old, as recent advancements in digital camera technologies have upped the performance ante dramatically in DSLRs from entry level to professional grade. Now, if you’re a serious photographer who can’t justify spending several grand on a rugged, full-frame DSLR, or even a pro looking for an affordable, lightweight backup camera and one that just happens to record great video, you’ll be pleasantly surprised by the features and performance found in DSLRs costing under $1,000.

READ ARTICLE:

If an apple a day keeps the doctor away, what does a cover story a month keep away? Now that I’ve had a several in a row with Outdoor Photographer and Digital Photo Pro magazines, I think the answer is “obscurity” in an industry with a very short attention span. Regardless of the long term benefits, it sure makes my day when I discover that I’ve landed another one on the newsstands. Check out this month’s story, and if you want to see the SLT-A35 and the NEX-C3 in action, watch the First Look video on YouTube.

SONY SLT-A35: For $699 with 18-55mm zoom kit lens, this 16.2MP camera offers a ton of features including an electronic viewfinder, image stabilization built-in, a large 3-inch LCD monitor, and fast AF in movie and live view modes.

It doesn’t get much bigger, or better, than the CES show in Las Vegas. And in Las Vegas, size matters! In this photo, Panasonic shows off its 152-inch plasma TV. Price? If you have to ask, you can’t afford it!

Every time I head out to cover the annual Consumer Electronics Show (CES) in January several questions go through my mind: Is it going to be warmer in Las Vegas than it is here in NY? Are the lines going to be as long again? And what will be the hottest technology at the show? The answer to the first question is always a gamble (appropriate for the town in question, don’t you think?): I’ve actually been to the CES show three times when it was snowing before, during, or just after the show, and several times when it was actually warmer in NY than in Nevada. This time around, however, I got a break on the temperature, as daytime highs in Vegas averaged in the mid to upper 60’s, and the show floor was even hotter, literally and figuratively! (Back just one day from the show and the temp outside my studio in NY right now is 1 degree! Brrrr!)

As for question number two: In the past I’ve referred to CES as the “Hurry up and wait!” show. This year, despite my best efforts to avoid the slowdown in Vegas by getting there several days early for “Press only” events, I ran smack into the slowdowns again. First, it took nearly 13 hours to get to Las Vegas (compared to a normal 8 hours), thanks to major incompetence on the part of U.S. Air (USeless Air). Second, the onslaught of approximately 110,000 attendees flocking to the show this year taxed the taxi system as usual, with wait time stretching from 20 to 40 minutes in many cases. And thinner than usual staffs at all of the hotels led to longer lines at check in, restaurants, and other venues. As a veteran of the show, I always pick a hotel near the monorail, stock my fridge with Starbucks coffee the night before to avoid morning lines, and take the monorail whenever I can. But this year, unusually long lines were also the norm at the MGM monorail station heading towards the show, and even my secret short cuts around the show floors were little help.

However, if I had to do it all over again, I would—but perhaps I’d stay a day or two after the show to enjoy the great weather I barely had time to enjoy, or wander through the show on its closing day to enjoy more of the incredible displays and new technology that I’m sure I missed. My primary goals at the CES show have always been to find new and innovative technologies that will affect the way photographers and videographers capture, display, and share their photos and videos. At this year’s show, there were many exciting developments on the capture front, and quite a few online, picture-frame, or cell-phone based “sharing” technologies announced. But I’d have to dub CES 2010 as the year that large screen TV’s finally got to the point where they can’t go much further—especially when it comes to image quality, 3D capability, thickness, or size. (I’m sure I’ll be proven wrong on the size, but size isn’t everything when you can’t even fit the current size champ, a 152-inch Panasonic plasma screen, through the doorway of even the typical mac mansion. See photo above.)

After analyzing last year’s CES show and a number of other big shows I had attended in 2008, I predicted the rapid growth of 3D capture and display technology during my presentation at the DIMA show prior to PMA in February, 2009. (What’s Next in Consumer Digital Photography? DIMA 2009). However, even I didn’t expect to see the advancements in 3D capture and display technology showcased by Panasonic, or the 3D and LED displays that wowed the audiences and stopped floor traffic dead at Samsung, LG, and Sony booths. Panasonic introduced the first pro-level, relatively compact 3D HD camcorder with a dual optic lens that helps feed a stereo view to dual HD sensors within the camera. I believe this model is just a hint of what’s to come out this year on the camcorder front—but I’ll bet money that Panasonic is working on a similar solution for its G-Series interchangeable lens hybrid cameras. At the same press conference, Panasonic introduced several large 3D-capable plasma screens, a 3D capable Blu-Ray disc player, and a announced a partnership with Direct TV to support a full HD, 3D channel in 2010. (Note: At the Panasonic press conference it was revealed that unless a “3D-capable” TV or monitor features a new HDMI version 1.4 connector, it won’t be compatible with standardized 3D playback devices such as the Blu-Ray player mentioned. Nice surprise to anyone who bought a 3D TV over the holidays featuring the advance 1.3 HDMI connector!)

While Panasonic gets my vote for numero uno on offering the best end-to-end solution for 3D technology, it had quite a bit of competition from the other display manufactures when it came to 3D TV and LED TV. At LG, ultra thin LED monitors were the big attraction, with colors that jumped off the screens. The same can be said of the LED displays at Samsung, which also showcased several 3D-ready LED models that combine the best of both worlds. Samsung gets my vote for having the best monitor display I’ve every seen in my life—on a scale that defies description, but hopefully can be approximated by some of the photos in the following gallery:

123►

At home, I not only watch my HD videos on it. I’m looking to replace my ailing 2003 vintage- 57-inch Sony HD CRT rear projection model this year, and until I saw the Samsung 3D LED display, I was leaning towards an LED TV vs a 3D capable plasma or LCD model as my next purchase for the living room. For me, the color accuracy, expanded color gamut, and the glass-free viewing experience you get from an LG, Sony, or Samsung LED TV is superior to any other display technology. (Ok, I was impressed with the color and viewing angle on the 20+-inch OLED teaser Sony had hidden in a back room, but that’s still several years away from the mainstream especially when it comes to competing on size.) Also, for the moment, there really isn’t enough 3D content to make me want to purchase a TV based on its 3D capability (plus I’d have to add a 3D- Blu Ray device, and several pairs of high tech 3D glasses to the purchase.) Hopefully, with the success of 3D movies such as Avatar (which grossed over 1 Billion dollars worldwide in just a few weeks!) that will change over the next few years. But for now, I think I’ll wait till after this year’s Infocomm 2010 show to see what the other manufacturers bring out on the 3D LED front, then save up for next Christmas’s big screen for the family. Oh yeah, they want one too!

Also, check out the official CES video podcast interview done by Sarah Myers on day two of the show with yours truly:

I got my first glimpse of the new Sony Alpha 900 back in January 2008 at the PMA show in Las Vegas, but I wasn’t really impressed. After all, it’s hard to get excited about a fake, plastic mockup hiding behind a sheet of Plexiglas even when all of the signs (and PR reps) around it extol its pro virtues and herald a Fall arrival. I’ve seen more than my share of early prototypes and wood-block cameras dissolve into the vaporware mist over the years, so of course I was a bit skeptical—especially since Sony had never built a pro-level DSLR and was trying to trump both the Nikon D3 and Canon EOS 1Ds Mark III.

However, Sony rarely makes a promise it doesn’t keep, and today (Sept. 9, 2008) it fulfilled its promised delivery date by releasing the final specs on the Alpha 900, along with several new accessories and tons of photos. (See press release). But did it fulfill its promise to design and build a professional DSLR? If the specs, photos, and press release were all I had in hand, I’d have to say “yes” based on the features listed on this camera and its relatively low price—only $3,000 for the body. (Yes, that’s right, in this case I think $3,000 for a DSLR is a super bargain, especially when compared to the Nikon D700, Canon EOS 5D, and Canon EOS 1D Mark III, all of which land close to that price point.)

For more of my analysis and initial reactions to the A900, listen to the Sept. 20 segment of the McNamara Report on Inside Digital Photo (slide to the 14min mark for that segment);

I’m not going to spend time describing all the cool features on the A900, just the one’s that I think give it pro potential and an advantage over the competition. For starters, a 24.6MP, full frame CMOS sensor should deliver the kind of image quality and resolution that medium format owners with digital backs are used to achieving. Only those photogs pay way more for a medium format system that’s not as portable, sleek, or versatile. On that note, Canon EOS 1Ds Mark III owners constantly bragging about their 21.1MP images should be wondering how Sony could deliver a DSLR with a full frame, 24.6MP sensor, plus built-in image stabilization (SteadyShot Inside) that works with most Konica Minolta lenses, a sharper 920,000 dot 3-inch LCD (vs. 230,000 dots), a similar 5fps burst rate, and a higher ISO of 6400 (vs. 3200) all for 5 grand less than the Canon!

New accessories also bring up the caliber of the A900. Most notably is the Sony HVL-F58AM flash unit with its unique Quick Shift Bounce system and wireless control compatibility (see photo gallery). This innovative flash will change the way you use bounce flash in the future, and improve results especially when shooting portraits. Sony will also offer a VG-C90AM vertical grip that houses 2 InfoLithium batteries, plus several new lenses. You can view images of the camera, lenses, and flash at Sony’s news site.

Ok, so the pro Canon and Nikon models all offer a live view mode—but is that feature worth several thousand dollars more? Not in my book. And I’ll take the image stabilization and extra resolution provided by the A900 shooting 5 fps over the Nikon D3’s lower 12.1MP resolution at 9fps any day. Of course, that D3 does do ISO 25,600, and both Nikon and Canon offer a greater lens selection–for now.

Sneak Preview:

Spec sheets and press releases are like movie trailers—if they do their job right they get you to take a look at the real thing when it arrives. But I guess I’ve been around long enough to attend sneak previews, and in this case that meant getting my hands on a preproduction Alpha 900 body, a look at some new Sony Zeiss zoom lenses, and an exciting new dedicated flash. It was only for a day—more than long enough to solidify my opinion about this camera’s performance and feature set, plus give me a clue about how it will rate in the image quality arena.

In my opinion, based on over 17 years of testing digital cameras, the Alpha 900 is a pro camera in nearly every respect, from its optical viewfinder (100% coverage) and magnesium-alloy, weather-sealed body construction down to the placement of most control buttons. It also offers a plethora of fine-tuning adjustments available via menus, removable focusing screens, HDMI video output for HDTV viewing, Dynamic Range Optimization, and dual BIONZ processing chips for fast startup and performance. While heavier than most advanced DSLRs in the sub-$2,000 price range, the Alpha 900 body, at 30 ounces, weighs slightly less than the Nikon D700 (34 oz), and ¾ lb less than either the EOS 1Ds Mark III or Nikon D3.

The A900′s viewfinder is a work of art, reminding me of the clear, bright viewfinders I treasured in my old favorite 35mm film SLRs such as the Canon A-1. Sony claims 100% coverage, and that’s how it appeared without lab measurement. I was also surprised at the speed of the AF system, and the speed and duration of burst mode (considering I had the camera set to RAW+Finest JPEG). About the only fault I found with the camera’s controls were the placement of the exposure-compensation button–which would be more reachable if it were swapped with the ISO setting button behind the shutter release instead of off to the side. Also, the top buttons would be easier to locate by feel if they had raised points (or nipples) instead of being flush with the surface of the camera.

Without lab tests to confirm, I still suspect that the Alpha 900′s 9-zone AF system won’t outgun the Nikon D3 or the EOS 1Ds Mark III, especially when it comes to tracking a moving object or one with vertical details in low light. But I had no problems locking onto fast moving butterflies, and the sharp viewfinder is one of the few that can be used successfully to fine tune manual focus. Also, the image stabilization system appeared to work well–although it wasn’t possible to see the effect through the viewfinder as you can with lens-based IS systems. Only tests will confirm if the IS system delivers the 2-4 stop advantage Sony claims, but designing an IS system that can handle a full frame sensor is quite an achievement considering the physics involved.

As for image quality, I can’t make a final judgment call based on the photos I took due to the pre-production nature of the camera. And while I shot RAW + Finest-quality JPEGs, I have yet to get my hands on Sony’s RAW conversion utility to take a closer look at the “pre-production” RAW files. I can’t wait till that software is available, since the image quality of the pre-production JPEGs blew me away, and I know the pre-production RAW files will look better when processed to 16-bit TIFF files. For samples shots I took with the preproduction version of the A900, check out the following photos:

123►

One thing is for certain, I am going to be pushing my 17-inch Canon and Epson printers to their limits with the photos I shot using the A900 that day. Until you zoom into a 24.6MP image and realize you are looking at a ton of detail that wasn’t even visible to the naked eye, you won’t appreciate this cameras amazing sharpness.

One last comment on resolution: I shot nearly all of my photos using a Sony 24-70mm f/2.8 Carl Zeiss Vario-Sonnar T* lens and a Sony 70-300mm f/4.5-5.6G SSM lens ($800). I’m extremely impressed by the 24-70mm, and I can’t wait to use the new Vario Sonnar T* 16-35mm f/2.8 ZA Carl Zeiss Series lens (approx. $1,800). Several times while shooting close-ups of butterflies and bees from a foot to 3 feet away I was approached by a Sony staffer and asked if I wanted to try out a 100 or 50mm macro lens. I declined for two reasons. First, getting within inches of a butterfly is nearly impossible no matter how stealthy you are. (Getting within inches of a bee is also not recommended.) Second, given the resolution of the captured image (and based on prior experience I had shooting with the 21.1MP Canon EOS 1Ds Mark III) I knew that I would still be able to crop and enlarge shots I took of these critters so that they appeared to be taken with a dedicated macro lens. Based on the number of pixels and assuming a very sharp lens, you should be able to print a full image as large as 20 x 30 inches at 200ppi. Crop the image down to ¼ size (the equivalent of using a lens with 4x the focal length, or getting closer with a macro lens) and you are still able to make up to 11×14-inch prints at 200ppi resolution. For nature photographers or paparazzi, that’s cropping power!