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March 24, 2008 11:28 AM PDT

Sony flagship Alpha 900 DSLR breaks cover

by Adam Richardson
Sony Alpha 900

Sony Alpha 900

(Credit: Master Chong)

Continuing their march upward in digital SLRs, Sony has for the first time allowed a hands-on look at a prototype of their Alpha 900. They had previously shown it "under glass" at photo shows.

There are a few noteworthy things:

Sensor: Holy moly, a 25 megapixel full frame sensor! Be sure to bring lots of memory cards, because you are going to fill them up fast, especially if shooting RAW (and as a pro, why wouldn't you be?). This is twice as big as the 12.2MP sensor in the competing Nikon D3, currently the darling of the photo forums. There's got to be some serious computing horsepower going on inside the body, too, to process those enormous image files at a frame rate that is required for a pro-level camera. Presumably there are multiple card slots in the body, and perhaps extras in the optional battery grip.

Size: If there's one thing I learned in design school, it's to take photos of handheld products using someone with hands that make the product appear the size you want it to be. In other words, small hands make a product look bigger, and vice versa. Well, either the person holding the camera in these shots has small hands, or this is one gigantic camera! Hard to tell how it scales compared to the big Canons and Nikons, but it's clear it's a beast. No doubt stoutly made, however, for its intended professional use. Unlike Nikon and Canon, Sony have opted not to build the battery grip into the body, so that may actually allow for a lower weight than the competition if you don't need the grip all the time.

Live View: Sony's implementation of Live View in its entry-level A350 has been widely reviewed as the best approach so far, making it truly useful. (Lots of people dismiss Live View on a DSLR -- "That's what the viewfinder is for!" they say -- but the fact is that looking at a screen from a distance rather than up against the viewfinder does have its uses, even for pros who often have to hold cameras above their heads to get a shot through a crowd.) The A900 brings Live View to a pro model camera in a similarly useful way.

Pentaprism: The A900 sports a decidedly retro looking pentaprism (the block of mirrored glass that sits above the lens and sends the image into the viewfinder) that iconically takes the old angular turret look of famous pro cameras like the Nikon F3 and plops it onto a modern ergo-curvy body. It's a rather odd combination, and doesn't work to my eyes. Many people will probably say, who cares what it looks like as long as it takes great photos? And there is something to that. But for a tool that is about creating aesthetics, I've always believed that the tools themselves should be beautiful. And if you look at the classic cameras of the past, even the professional ones, they were always beautiful in their own way (F3, Leicas, Rolleiflexes, Canon T90, etc.). Beautiful doesn't have to mean Ferrari-sleek, but it does mean that the designs are coherent and have a sense of "inevitability" about them. The A900 does not have that, it looks cobbled together.

It's good to see Sony sticking with the SLR business though, there was a lot of skepticism when it bought out the Minolta range and re-badged it that they would have the patience required for this market. Check out more photos at Master Chong

Adam Richardson is the director of product strategy at Frog Design, where he guides strategy engagements for Frog's international roster of clients, envisioning and creating new products, consumer electronics, and digital experiences. Adam combines a background in industrial design, interaction design, and sociology, and he spends most of his time on convergent designs that combine hardware, software, service, brand, and retail. He writes and speaks extensively on design, business, culture, and technology, and he runs his own Richardsona blog. Adam is a member of the CNET Blog Network and is not an employee of CNET.
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by DrJohnOH March 29, 2008 10:55 AM PDT
I got off the increasing mega-pixel ramp at 7 MP because I did the math. At 6+ MP the film resolution approaches 400 ASA. To get to 200 ASA, the resolution needs to be 12+ MP, and to get to 100 ASA, which is the bench mark for good color and B&W prints, the resolution needs to be 24+ MP, which this camera accomplishes. Now, assuming the aspect ratio is 1.77 rather than 1.33, we're talking about a real camera here. What keeps me away is waiting for the technology to become affordable. I was first on board with the SONY digital at 400 x 600 resolution that wrote to floppy disk, and at 1.2 MP that wrote to CD-RW, and I have a 6 MP Pentax that writes to SD Memory Card, but this time I'll wait for 25 MP to drop to the sub $500 range with a fast write to a 10+ GB memory card.
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by FlammaStolt April 7, 2008 4:06 AM PDT
Sony's Live View is good for a P&S experience (but the Olympus E-330 had that ability already years ago).

What Sony's Live View lacks is precision focus, accurate DOF preview, and accurate 100% framing. If reviewers are raving about Sony's implementation, maybe that's because they are snapshooters at heart rather than working photographers.
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by taylorwilsdon July 31, 2008 11:39 PM PDT
I think Sony is having fun above anything else. They're building sensors and cameras that nobody else can, and even though they're not one of the big names in cameras, they can build technological showcases that Canon and Nikon can't touch.

Yeah, the D3x will probably have 24/25 megapixels, but that grip ain't removable. The Alpha 900 is really interesting as far as I'm concerned, if only as an indicator to the future.

Seen at http://www.taylorwilsdon.com/industry-news/sony-alpha-a900-dslr-gets-release-date-photographed
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About Matter/Anti-Matter

Tim Leberecht and Adam Richardson both work for Frog Design, a consulting firm specialized in designing innovative products and services for Fortune 500 clients. On the Matter / Anti-Matter blog, they engage in a debate around questions they face day-to-day in their work, using convergence/divergence as a lens through which to look at the pressing issues in business, culture, and technology. What makes a successful convergent product or a successful divergent innovation? Is convergence a myth that users don't really care about, or is the current state of convergence just not satisfying enough for them to embrace? How much divergence of innovation is good, and when does it just become confusing? How do you stay on top of people's ever changing needs and wants?

They are members of the CNET Blog Network and are not employees of CNET.

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