Sony DSC-S700 Digital Camera manual

Guide to Digital Photography
Spring 2007
Getting the shot you really want.
Any camera will take pictures. Sony ® cameras are designed to help
you take great pictures – even when the circumstances are less than
great. Sony cameras shine when the light is low. When subjects are
distant. Or moving quickly. Sony uses the latest digital technology
to help you get the shot you really want.
Sony innovation comes from a mastery of all things digital, from the
sensors that capture your picture to the processor that manages it to
the media that stores it to the battery that powers the entire system.
Backed by these vast resources, we’re free to create digital cameras
that change the way you see the world.
This guide tells you what you need to know about digital photography
and digital photo printing. Along the way we’ll point out the unique
Sony features that help you get the results you’re looking for.
CONTENTS
Getting the shot you really want
Television and monitor pictures simulated.
2
Shooting the digital way: Camera systems
16
Taking your best shot: Camera control
34
Sharing your pictures
44
Sony product guide
50
Digital still camera specifications
54
Index
56
DSC-W200
Face Detection
Friends and family will look their best because Sony has taught cameras
how to recognize – and optimize – the human face.
Have you ever seen pictures with the faces bleached out
because the flash was too strong? Or blurry faces because
the camera didn’t know where to focus? Or faces too
dark because light was coming from behind? Sony’s supremely
powerful BIONZ™ processor – originally used in the award-winning
a100 Digital SLR – solves these problems automatically. A BIONZ
function called Face Detection analyzes the scene, identifying and
tracking up to eight faces at a time. Then the camera automatically
adjusts for optimum focus, exposure, white balance and flash. The
result? Great pictures, every time!
Actual photo taken with a Sony® digital camera. Shutter 1/60 sec. Aperture f7.1. Flash Off. ISO 200.
FACE DETECTION
Focus
Exposure
Flash
White Balance
Sony solves common exposure, focus, flash
and white balance problems with Face
Detection technology. (Sample photos for
illustration purposes.)
See page 26 for details
or visit www.sony.com/dsctraining.
Without
Face Detection
Without
Face Detection
With Face Detection
Monitor picture simulated.
Without
Face Detection
With Face Detection
Without
Face Detection
With Face Detection
With Face Detection
3
DSC-W80
Full HD 1080
A spectacular new way to share your still pictures with the whole crowd:
on your HDTV in HD resolution!
Sony has helped to deliver a brilliant new canvas on
which you can share your digital pictures. It’s called
HDTV and Sony is the industry leader. Thanks to the Full
HD 1080 output capability of Sony’s latest Cyber-shot® cameras,
you can now enjoy your pictures with more than four times the
detail of conventional, Standard Definition TV. It’s a great way to
share your still pictures – and a stunning way to show off the
performance of your HDTV – especially your Sony BRAVIA™ HDTV!
Many cameras even offer an HD Slide Show with music. (HD
connecting cables sold separately.)
Actual photo taken with a Sony® digital camera. Shutter 1/60 sec. Aperture f5.6. Flash Off. ISO 200.
FULL HD 1080
Option 1:
HD Component Cable
Option 2:
HD Cradle Solution
Option 3:
HD Camera/Printer Bundle Solution
Result:
HD Photo Sharing
Enjoy High Definition using the optional
VMC-MHC1 cable, optional CSS-HD1
Cyber-shot ® Station cradle or the
DSC-W80HDPR bundle connected to
your HDTV (sold separately). (Sample
photos for illustration purposes.)
See page 44 for details
or visit www.sony.com/dsctraining.
Television, monitor and print pictures simulated.
5
DSC-T100
Out of the shadows
The interplay of highlights and shadows is the soul of photography. Now Sony
helps you make the most of it.
Professional photographers carefully avoid exposure
mistakes like “blown out” highlights and “crushed”
shadow detail. But sometimes, back-lighting, intense
highlights and other tricky situations make these problems hard to
avoid. Until now. A Sony function called Dynamic Range Optimizer
(DRO) preserves highlight and shadow detail, for beautifully exposed
images that are far less like snapshots, far more like what the human
eye actually sees. DRO is a bit of digital wizardry made possible by
Sony’s exclusive BIONZ™ processor.
Actual photo taken with a Sony® digital camera. Shutter 1/80 sec. Aperture f5.6. Flash Off. ISO 200.
DYNAMIC RANGE OPTIMIZER (DRO)
The unprocessed picture (left) is marred
by lost detail in both the highlights and
shadows. The improvement with Sony’s
DRO (right) is plain to see. (Sample photos
for illustration purposes.)
See page 41 for details
or visit www.sony.com/dsctraining.
Without Dynamic Range Optimizer
Monitor picture simulated.
With Dynamic Range Optimizer
7
DSC-T20
Bye-bye, blur
Handheld shots in low light have been the perfect recipe for blur. Sony uses
three powerful technologies to kiss blur goodbye.
Shooting in low light means long exposure times. And
that means that even slight camera motion ends up
destroying the shot with blur. You could set the camera
up on a tripod, but only if you have one handy! You could turn on
the camera’s flash, but that would spoil the mood! Sony has a better
way. Our Clear RAW™ noise reduction reduces the picture “noise”
common to low-light exposures. High ISO Sensitivity enables you
to shoot at faster shutter speeds. And Super SteadyShot® optical
image stabilization compensates for camera shake.
Actual photo taken with a Sony® digital camera. Shutter 1/8 sec. Aperture f4.5. Flash Off. ISO 400.
SUPER STEADYSHOT OPTICAL IMAGE STABILIZATION
The system uses separate vertical and
horizontal sensors that detect camera
shake. The camera sends an equal-butopposite correcting signal to a stabilization
lens, which moves to compensate for shake.
(Sample photos for illustration purposes.)
See page 27 for details
or visit www.sony.com/dsctraining.
Monitor picture simulated.
Without Super SteadyShot
With Super SteadyShot
9
DSC-H9
Get into the action
You may be on the sidelines. But your pictures can get right into the action
with Sony high zoom cameras.
Do you shoot kids’ sports? Our DSC-H7 and DSC-H9
offer a 15x optical zoom lens that gets you far closer
than conventional lenses. Since optical quality is
critical, Sony uses a Carl Zeiss® lens. Since 15x optical zoom can
magnify the effect of camera shake, Super SteadyShot® optical
image stabilization helps keep your pictures clearer. And since
sports can mean blur, our Advanced Sports Shooting mode,
intelligent continuous Auto Focus and ultra-fast 1/4000 second
shutter speed deliver razor-sharp results.
Actual photo taken with a Sony® digital camera. Shutter 1/500 sec. Aperture f4.8. Flash On. ISO 160.
DIGITAL VS. OPTICAL ZOOM
Digital zoom (left) sacrifices resolution.
The original pixels can become painfully
obvious. Optical zoom (right) maintains the
full resolution of the image sensor. (Sample
photos for illustration purposes.)
See page 18 for details
or visit www.sony.com/dsctraining.
Monitor picture simulated.
Digital Zoom
Optical Zoom
11
DSC-W90
Shoot at the speed of life
Life moves fast. Thanks to the Sony BIONZ™ processor, you can catch the
most memorable moments before they pass you by.
To grab a baby’s smile or a soccer goal before it’s
gone, your camera processor needs to be as fast
as your subject. Sony’s BIONZ™ processor typically adjusts focus and
exposure in less than half a second. After that, there’s almost no
“shutter lag.” The shutter typically opens less than 0.01 second after
you fully press the release button. (Times vary by camera.) The power
of the BIONZ processor is also the secret behind Sony Face Detection,
Dynamic Range Optimizer, Full HD 1080 output and even in-camera
retouching!
Actual photo taken with a Sony® digital camera. Shutter 1/1600 sec. Aperture f6.3. Flash Off. ISO 400.
BIONZ ™ PROCESSOR
Time
Shutter lag (left) could cause you to miss
Time
Processing
Press Shutter Release
Reduced Shutter Lag
Captured Image
the moment. The BIONZ processor (right)
reduces shutter lag to 0.01 second. (Times
vary by camera.) (Sample photos for
illustration purposes.)
See page 26 for details
or visit www.sony.com/dsctraining.
Monitor picture simulated.
Without BIONZ Processor
With BIONZ Processor
13
DPP-FP90
Picture perfect printing
Any printer can print your pictures. Sony printers improve them – actually
correcting defects and achieving quality that will amaze you.
“If only.” It’s a familiar comment to anyone
who prints out pictures. If only the camera’s
flash hadn’t caused those ghoulish red eyes. If only the focus had been
a little better. If only the exposure had been a little brighter. Sony’s
latest printers announce the end of “if only.” Thanks to the BIONZ™
processor, the printers actually analyze the content of your pictures,
identify defects and correct issues in focus, exposure, red-eye* and
more! We call it the Auto Touch-Up™ function. You’ll call it amazing.
AUTO TOUCH-UP FUNCTION
With the touch of a single button, Sony
printers will analyze your picture data, identify
faults and correct them automatically!
(Sample photos for illustration purposes.)
See page 48 for details
or visit www.sony.com/dsctraining.
Monitor and print pictures simulated.
* Auto red-eye correction uses technology
from USA FotoNation Inc.
Without Auto Touch-Up
With Auto Touch-Up
15
Shooting the digital way
CAMERA SYSTEMS
CAMERA SYSTEMS
The lens
“35mm equivalence”
To the casual user, it’s obvious that
the camera takes the picture. But to
accomplished photo professionals, it’s
really the lens that takes the picture. The
lens is responsible for so much of what
Unfortunately, lens focal lengths are related
to image sensor sizes. And while a 35mm
film frame is always the same size, digital
camera image sensors vary greatly from
model to model, even within a single
manufacturer’s line! The same 16mm
focal length that would be considered an
extremely wide “fisheye” lens on a 35mm
camera can actually be a telephoto lens
on a compact digital camera.
For example, a 100mm lens with a
maximum aperture of 25mm is an f4.
This generates the same brightness as
a 40mm lens with a maximum aperture
of 10mm (also f4).
The lower the “f” number, the brighter
the lens. Zoom lenses are often brighter
at the wide end than at the telephoto end.
So it’s not unusual to see a zoom lens
specification such as 28-200mm, f2-2.8.
Integral and
interchangeable lenses
Most digital cameras have “integral” lenses,
fixed to the body. Some offer interchangeable
lenses that can be swapped and upgraded.
Both types have their advantages and
Sony makes both types. (See chart for
more information.)
focus (and the selection of what objects are
in focus), color, contrast and detail.
Focal length
The angle of view that a lens takes in is
most often described by the focal length
(the distance from the image sensor to the
lens’s “rear nodal point”). Longer focal
lengths correspond to narrower angles of
view (telephoto). Shorter focal lengths
correspond to wide angles of view.
In the world of 35mm film lenses, a 50mm
lens approximates the angle of view of
natural human vision and is considered
a “normal” lens. A 28mm lens is “wide
angle” and a 200mm lens is “telephoto.”
Optical zoom
Optical zoom lenses are specified by a
range of focal lengths, such as 24-120mm.
Because the 120mm image is magnified
five times compared to the 24mm image,
this is also called a “5x optical zoom” lens.
Maximum aperture
The lens is like a window, admitting light.
The wider the window, the more light will
be let in. The width of the window is called
the “maximum aperture” and it’s expressed
as an “f” number, the ratio of the focal
length, divided by the aperture diameter.
Lens and sensor size
The lens and the image sensor work
together as a team. In a fixed-lens camera,
the lens is carefully tailored to the specific
size and resolution of the image sensor.
Small image sensors work with smaller
lenses – ideal for ultra compact cameras.
But if you want the higher performance and
creative control of a large image sensor,
you’ll need a larger lens to go with it.
The difference becomes even more dramatic
in telephoto and high magnification zoom
lenses. For example, the Sony DSC-H7
15x optical zoom lens extends from 31 to
465mm (35mm equivalent). On a 35mm
camera, such a lens would be gigantic. Yet
the DSC-H7 is quite compact.
Size
Compact. Tailored to the specific size
of the sensor.
Larger. Typically optimized for 35mm image size.
Zoom range
Good. Varies by camera. Sony
15x optical zoom cameras have
phenomenal range from full wide
to full telephoto.
Best. Varies by lens selection. However, it’s often difficult
to get wide angle because 35mm lenses undergo a 1.5x
telephoto conversion when used with the smaller,
APS-size image sensor.
Live Preview
off the main
image sensor
Yes. You see what the camera sees
on the LCD monitor, with indication
of white balance, exposure and
depth of focus.
No. The main image sensor is blocked by the mirror
until the moment of exposure. You frame via the optical
viewfinder.
Versatility
Good. Zoom lens and conversion
adaptors cover many needs.
Best. A selection of optional lenses gives you maximum
choice.
Migration
No. The body and lens are
permanently joined.
Yes. As a system evolves, you may be able to keep your
lenses and migrate to compatible new camera bodies.
The a100 works with Minolta Maxxum film camera
lenses from as far back as 1985!
LENS MTF CURVES
KEY
100%
10 Line Pairs/mm Sagittal
90%
10 Line Pairs/mm Meridional
80%
30 Line Pairs/mm Sagittal
70%
30 Line Pairs/mm Meridional
60%
50%
The lens is also responsible for rendering
straight lines as straight. While the task
seems simple enough, it is difficult to
achieve at the wide end of zoom lenses,
which tend toward either pincushion or
barrel distortion.
40%
This set of four MTF curves describes
the ability of a lens to maintain contrast
(vertical scale) across the image area
(horizontal scale). As you can see, a
lens can’t be described by a single
resolution number.
30%
20%
10%
0%
0
3
6
9
12
mm
DISTANCE FROM CENTER
35mm film / 24mm lens
Take a lens designed for 35mm. Put it in front of
an APS-size digital image sensor. Result? A focal
length conversion of about 1.5x. (Sample photo
for illustration purposes.)
50mm
When we think of digital camera resolution,
we immediately think of the image sensor.
But an image sensor can only resolve the
detail that the lens presents. A good lens
maintains high contrast at high resolution.
In fact, a special family of graphic curves
called the Modulation Transfer Function
(MTF) describes how well a lens maintains
both resolution and contrast.
Geometric accuracy
APS-size DSLR /
38.4mm equivalent
34mm
INTERCHANGEABLE LENSES
Resolution
defines a great image, including field of view,
To compare “apples to apples,” the industry
uses a “35mm equivalent” specification
that converts every lens to its equivalent
35mm angle of view – regardless of image
sensor size.
INTEGRAL LENS
Color convergence
When Isaac Newton demonstrated that a
prism could break white light into its
component colors, he also demonstrated
what would become a drawback in lenses.
Without careful correction, lenses cause
colors to break apart. You can see color
fringing or “chromatic aberration” as
unwanted color along the edges of objects
in the picture. Chromatic aberration is
especially noticeable on the edges between
very bright and very dark areas of the scene.
Barrel distortion (left) and pincushion
distortion (right) are inaccuracies that
lenses can introduce. (Sample photos
for illustration purposes.)
Chromatic aberration takes the form of
unwanted color fringing, especially on
the edges between very bright and very
dark areas of the scene. (Sample photos
for illustration purposes.)
200mm
Wide, normal and telephoto views of the same subject taken with 34, 50 and 200mm focal lengths (35mm equivalent).
(Sample photos for illustration purposes.)
16
17
Shooting the digital way
CAMERA SYSTEMS
Sony lens
features
CAMERA SYSTEMS
Carl Zeiss lens
Prized by professional photographers for
superior sharpness, excellent contrast
and color accuracy.
Carl Zeiss T* coatings
82% less reflection than conventional
lens elements, for maximum contrast
and perceived sharpness.
Interchangeable lenses
The a100 accepts any of 16 million
Maxxum® lenses dating back to 1985.
Each lens defines a view of the world
and establishes its own set of creative
possibilities. That’s why Sony built the
a100 on the foundation of 16 million
Maxxum lenses dating back to 1985.
These include such cherished Minolta
glass as the classic 135mm Smooth
Transition Focus (STF), the awe-inspiring
300mm f2.8 G and the 500mm f8 Reflex
– the world’s only AF telephoto reflex lens.
Not only is Sony retaining a wide range of
these well-loved optional lenses, we also
offer compatible Carl Zeiss® optics, taking
a proud legacy into the future.
Lenses are responsible for maintaining
resolution, contrast, even illumination and
consistent color from the center of the
picture all the way out to the corners.
With so much at stake, professional
photographers often treasure the lenses of
Carl Zeiss. And that’s why Sony incorporates
a Carl Zeiss lens in nearly every Sony
digital camera. In addition, the a100 Digital
SLR accepts optional, interchangeable
Carl Zeiss lenses.
In fact, the Sony Alpha system is a growing
family that will offer choices in bodies in
addition to a range of optional lenses,
offering a rich selection of focal lengths,
speeds, and special applications.
Wide
A study in macro focus. Actual digital photo taken with the
DSC-T10. ISO 125, shutter speed 1/100, aperture f3.5.
The difference that T* coatings makes is obvious, even
to the naked eye.
9x
All Carl Zeiss lenses in Cyber-shot® cameras
use special coatings to cut down internal
reflections. The Carl Zeiss lenses designed
for the a100 Digital SLR go even further.
They feature optical elements with the Carl
Zeiss T-star coatings. These coatings reduce
internal reflections at the glass-to-air
surfaces. This suppresses lens “flare”
or “ghosting” that can sap an image of
its contrast and punch. The T* coatings
mean 52% less reflection than a standard
Carl Zeiss® lens – and an impressive 82%
less reflection than a conventional lens.
You get notably more natural, more
vibrant images.
Optical zoom lens
Greater freedom in composition, including
the ability to get close to your subject or
pull back for a wider view.
18
6x
The 15x zoom of the DSC-H7
gets you even closer to the
action. (Sample photos for
illustration purposes.)
Sony offers professional-grade Carl Zeiss T* lenses for
the a100 camera.
Our Digital Single Lens Reflex camera, the a100, works with 16 million Maxxum lenses.
3x
Optical zoom lenses set you free. You
can zoom in tight on distant subjects,
great for shooting children’s sports or
recital performances. For example, the
full telephoto position of the DSC-H7
and DSC-H9 brings you incredibly close
(15x zoom at 465mm, 35mm equivalent).
A mild telephoto setting (about 100mm)
is especially flattering for portraits, because
it enables your subject to fill the frame
while you stand back far enough for a
natural perspective. Finally, you can use
full wide, to pull back for scenic vistas or
15x
group photos. Unlike digital zoom, optical
zoom always delivers the full performance
of the camera’s image sensor.
additional possibilities. The amazing Sony
Magnifying Glass mode enables you to
position the camera a mere 1 centimeter
(0.4 inch) away from the subject! So you
can see (and capture) detail not visible
to the naked eye. The degree of image
magnification depends on the distance
from the camera to the subject.
Compact zoom lens
The quality of Carl Zeiss optics and the
power of up to 5x zoom in ultra-small,
ultra sleek cameras.
Sony has an extensive background in
microelectronics and micromechanics.
You can see this expertise in products like
Sony camcorders and ultra-slim laptop
computers. So it’s no wonder that we have
our own, unique perspective on zoom lens
design. A compact zoom lens needs to
incorporate zoom optics, zoom mechanics,
shutter and focus actuators. But Sony has
found ways to slim these lenses down
considerably. That’s why so many
Cyber-shot® cameras incorporate an
optical zoom lens that combines good
zoom range and good lens speed in a
design that retracts into the camera body.
And some Sony cameras go further still.
Starting with the precision of the Carl
Zeiss Vario-Tessar® design, Sony created
a folding-optical-path lens for the DSC-T1.
You’ll find that same inspired design on
today’s T Series cameras. It never needs
to extend forward from the camera body.
The 5x optical zoom lens of the DSC-T100 is arranged
vertically on the right side of the camera body in this
cutaway view. Not only is the lens small; it never
extends forward from the camera body.
Macro photography
Breath-taking views of the small,
small world.
Sony makes it easy to capture beautiful
images of small objects like jewelry, coins,
stamps and flowers. Macro focus mode
enables you to focus on objects just a few
inches away from the lens!
Normal photography, macro photography and Magnifying
Glass mode. (Sample photos for illustration purposes.)
Magnifying Glass mode
Capture detail not visible to the naked eye.
Film cameras are limited in their macro
focus modes. Because Sony is not limited
by the film camera mentality, we see
19
Shooting the digital way
CAMERA SYSTEMS
12 MP
480
1536
1944
2448
2736
3000
to an integrated circuit chip called the image
200
dpi
200
dpi
200
dpi
200
dpi
200
dpi
200
dpi
The pixels of the typical image sensor are
sensitive to all colors of light. Without
outside help, they can only see images in
“black and white.” To capture color, they
require the help of a color filter array. This
is a mosaic of microscopic filters that permit
light of only one color – Red, Green or
Blue – onto each pixel. Red, Green and
Blue are the “additive primary” colors. This
means that different proportions of Red,
Green and Blue can be added to reproduce
any visible hue.
Where film converts the incoming light to
16.3"
9.7"
chemical changes in the emulsion, the
12.2"
image sensor converts light first into an
18.2"
7.7"
13.0"
10.2"
2.4"
the film would be on a conventional camera.
20.0"
13.7"
electric charge, then into analog voltage.
Some image sensors also take the next
Color
4000
After the lens, light passes from the subject
sensor. The sensor occupies the spot where
The neutral density filter of the Sony VF-30NK helps control
bright outdoor scenes, for images of more subtlety and
beauty. (Sample photos for illustration purposes.)
10 MP
3648
8 MP
3264
5 MP
3.2"
Use the polarizing filter of the Sony VF-30CPKS to control
reflections off water or glass. (Sample photos for
illustration purposes.)
3 MP
2592
640
Attach optional conversion lenses for
additional focal lengths; attach filters
for stunning special effects.
Selected Sony Cyber-shot® cameras enable
you to exceed the zoom range of the built-in
lens, thanks to optional conversion lenses.
Or unleash your creativity with optional filters.
The DSC-W55 accepts the optional VAD-WB
lens adaptor, while the DSC-W200 accepts
the optional VAD-WD lens adaptor. These
adaptors enable you to mount optional
conversion lenses and special effects filters.
The DSC-H7 and H9 feature a 74mm lens
thread that accepts optional conversion
lenses and filters directly.
VGA
The image
sensor
Optional conversion
lenses and filters
2048
CAMERA SYSTEMS
15.0"
More megapixels mean finer detail and larger print sizes. Shown here: print sizes for high quality at 200 dots per inch.
(Sample photo for illustration purposes.)
step, converting the analog voltage into
PRINT DPI
digital bits.
PRINT SIZE
Pixels and megapixels
The star filter of the Sony VF-30SC lends a dramatic
touch to picture highlights. (Sample photos for
illustration purposes.)
Conversion lens adaptors extend the capabilities of
many Sony cameras. So you can shoot wider angles
and longer telephotos as well as take advantage of
polarizing, neutral density, star, and soft filters.
20
The soft filter of the Sony VF-30SC adds the right touch
of diffusion for romantic portraits, emotional subjects
and atmospheric landscapes. (Sample photos for
illustration purposes.)
While a film image is composed of discrete
chemical grains of irregular size and shape,
a digital image is composed of discrete
squares of color called pixels. The pixels
that form a digital image begin as discrete,
light-sensitive areas on the surface of the
image sensor.
One million pixels is called a “megapixel.”
And it appears that everyone understands
that more megapixels are better. Here’s why.
The more megapixels you have, the bigger
prints you can make at a given image quality.
More megapixels create images ready to
use in printed flyers and brochures. And
higher megapixel counts enable you to crop
the image or use digital zoom – without
sacrificing too much picture detail.
12 MP
10 MP
8 MP
5 MP
3 MP
VGA
3 x 4 Inches
1000
912
816
648
512
160
4 x 6 Inches
750
684
612
486
384
120
5 x 7 Inches
600
547
490
389
307
96
8 x 10 Inches
400
365
326
259
205
64
11 x 14 Inches
286
261
233
185
146
46
16 x 20 Inches
200
182
163
130
102
32
20 x 30 Inches
150
137
122
97
77
24
The Bayer color filter array permits light of only one
color to fall on each pixel.
RED
KEY:
Ideal picture quality
Good picture quality
MAGENTA
BLUE
Not recommended
Anything above 300 dpi is photo quality, shown in green. High quality printing, from 200 to 300 dpi is shown in orange.
Printing below 200 dpi will not yield high quality.
YELLOW
CYAN
GREEN
Different proportions of Red, Green and Blue can be
added to reproduce any visible hue.
21
Shooting the digital way
CAMERA SYSTEMS
CAMERA SYSTEMS
Charge Coupled Device
(CCD) sensors
CCD stands for Charge Coupled Device.
It’s often compared to a bucket brigade.
When light enters the “bucket” of a pixel’s
image sensing area, the light generates
an electrical charge. After the exposure,
charges are passed along to other buckets,
and then to an amplifier that converts the
charges to a voltage. CCDs exhibit high
image quality, with a minimum of unwanted
image mottling or “noise.”
The challenge of resolution
Together with the lens, the image sensor is
primarily responsible for achieving high
resolution. The number of pixels in the image
sensor generally determines the maximum
number of pixels in the recorded image.
This encourages CCD manufacturers to
squeeze smaller and smaller pixels into
a given image sensor size. But smaller
pixels come at a cost: sensitivity and noise.
The challenge of sensitivity
and noise
Smaller pixels represent smaller “buckets”
in which to collect electric charge. Other
things being equal, smaller pixels have
less “sensitivity” to light: they require more
light to achieve a given picture quality. In
addition, other things being equal, smaller
pixels are more prone to mottling in the
picture, the random flecks and specks of
picture “noise.”
The importance of size
Small pixels give you resolution. Big pixels
give you high sensitivity and low noise. It’s
a classic engineering tradeoff. One obvious
way to overcome this is to increase the
overall size of the image sensor. While
rarely prominent on the spec sheet, image
sensor size is just as important as the
number of megapixels.
Sensors are classified by “type,” measured
in fractions of an inch. Other things being
equal, each pixel in a 2/3-inch image sensor
will be four times the size of a pixel in a
1/3-inch type image sensor for dramatic
improvements in sensitivity and noise.
Larger image sensors also help you control
depth of field to achieve “selective focus.”
This creative tool helps your subject stand
out by blurring the background. The
geometry of large image sensors makes
them inherently better suited to selective
focus than small sensors. You can choose
to open the iris to blur the background. Or
stop the iris down to keep the entire scene
tack-sharp.
The inch “types” date back to the outside
diameter of the pickup tubes of old broadcast
television cameras. This outside diameter
was always much larger than the inside
target size. This has created a paradox.
Nothing about a modern 2/3-inch type
integrated circuit image sensor actually
measures 2/3-inch!
The challenge of dust
The image sensors of digital SLRs face
one challenge that the sensors of lensintegral cameras never see. When you
take off the lens of a D-SLR, you expose
the image sensor to environmental dust.
Image sensor pixels are microscopically
small, from two to six micrometers across.
In comparison, dust motes can be huge:
40 micrometers across. So when a single
dust mote alights on the image sensor, it
can obscure many, many pixels. And once
dust has landed on the image sensor, it is
surprisingly difficult to remove.
Sony image
sensor
features
Full APS-size image sensor
Achieving the ultimate in picture quality
in the a100.
If you want professional-grade resolution,
sensitivity and freedom from noise, there’s
simply no substitute for a professional-size
image sensor. That’s why the Sony a100
Digital SLR incorporates a sensor with a live
image area almost the exactly the same size
as the APS-C film frame: 23.6 x 15.8 mm.
Incredible resolution, sensitivity and
clarity from the industry leader in CCD
image sensors – Sony.
Sony uses a Hole Accumulated Diode (HAD)
design to achieve not only high resolution
but also low noise and superb low-light
sensitivity. The CCD structure alternates
between small light-sensitive windows and
The larger image sensor has dramatic
advantages:
Higher resolution
Higher sensitivity
Lower image noise
Greater exposure latitude
More selective focus
LIGHT
Previous microlens designs (left) miss some of the
incoming light. Our Super HAD design (right) gathers
more light for even higher sensitivity.
An engineering marvel, the Sony 10.2 Megapixel Super
HAD CCD.
ON-CHIP MICROLENS
Light
Accumulating
Bucket
Carrying
Bucket
And Sony CCD technology continues to
advance. Sony refinements to the silicon
substrate enable succeeding generations
of Sony digital cameras to “have their cake
and eat it, too.” Each generation features
more megapixels, while maintaining or
improving sensitivity and noise performance.
Sony is not only the industry leader in charge
coupled device (CCD) image sensors, we
supply more digital camera CCDs than all
other companies combined! This expertise,
unrivaled in the industry, is evident in our
proprietary Super HAD™ CCDs.
To appreciate the APS advantage, compare
the a100 with a typical 5.1 megapixel
camera using a 1/2.5-inch type sensor
(live image area 5.76 x 4.29 mm). The
a100 sensor has more than fifteen times
the area of this typical sensor. And even
though the a100 has twice as many pixels,
each a100 pixel has more than seven
times the area of the typical pixel!
•
•
•
•
•
KEY
transfer sections that provide DC voltage
and output connections. To maximize
sensitivity, the Sony design uses an array
of microlenses on the CCD surface to
gather the light that might otherwise miss
the light-sensitive areas.
Sony Super HAD™ CCD
image sensor
Take the lens off a digital SLR and you’ll quickly realize
why anti-dust technology is so important.
Charge
Effective
Vertical
Register
Ineffective
Horizontal
Register
Photo shielding AI
Amplifier
TRANSFER
SECTION
Signal
Output
Operating principle of an “interline transfer” CCD image sensor. Buckets of charge in the light-sensing area are transferred
into the vertical registers, from which they go to a horizontal register and the amplifier.
22
The a100 image sensor has more than fifteen times
the image area of the typical 1/2.5-inch type sensor.
SENSOR
TRANSFER
SECTION
The Sony microlenses maximize low-light performance by directing light onto the sensor areas and away from the
non-sensing transfer sections.
23
Shooting the digital way
CAMERA SYSTEMS
CAMERA SYSTEMS
The image
processor
ORIGINAL IMAGE
MINUS
CCD FIXED PATTERN
EQUALS
DIGITAL CLARITY
The original recorded image (left) shows noise. The secondary capture (center) reveals the fixed-pattern noise of the CCD.
Slow Shutter NR creates the resulting image (right) by subtracting the noise from the original picture! (Sample photos
for illustration purposes.)
Slow Shutter NR
Outstanding clarity in low-light shooting.
Image noise – unwanted flecks and specks
of color – is always a concern in digital
photography, especially in low-light shooting.
In the dark, the strength of the desired image
is relatively weak compared to the “fixed
pattern noise” of the image sensor. The
Sony Super HAD™ image sensor design
works to overcome this problem with
microlenses that maximize the incoming
light. A second Sony technology, Slow
Shutter NR, goes further still. After taking
your pictures, the feature takes a second
“exposure” of just the fixed pattern noise. By
subtracting the noise from the desired photo,
Slow Shutter NR achieves uncommonly
clear shots at night!
Anti-dust technology
Extra protection for the image sensor of
the a100.
NightShot system
®
The image sensor converts incoming light
into electrical voltage. But before it becomes
useful, this voltage must first be converted
to digital. Even then, the digital information
Captures shots where others cameras
can’t – in low light or no light at all!
goes through several processes before it
Most cameras are limited to visible light, but
Sony’s DSC-H9 has no such limitation. The
NightShot system illuminates your subjects
with infrared light, which the camera uses
to record an incredible image. With the
NightShot system, you can literally see in
the dark.
processes are undertaken by the “brains”
Slow Shutter NR is a key to great nighttime photography.
(Sample photos for illustration purposes.)
becomes a digital picture. Most of these
of a digital camera, the image processing
integrated circuit.
Analog-to-digital conversion
At first, the amount of light at each image
sensor pixel is represented by a continuously
variable, analog voltage. The voltage for
each pixel is converted into a digital sample,
made up of computer 1s and 0s. For each
sample, more binary digits (bits) result in
greater precision. Four bits per pixel result
in samples such as 0101. This yields a
maximum of 16 possible shades of color.
Eight bits (samples such as 01010101)
result 256 possible shades. Fourteen bits
(samples such as 01010101010101)
result in 16,384 possible shades!
Digital SLRs have a dirty little secret: dirt
and dust are attracted to the image sensor
surface, degrading the picture. Once there,
dust is excruciatingly difficult to clean.
That’s why the Sony a100 camera has
comprehensive anti-dust technology. A
special Indium Tin Oxide CCD coating helps
repel dust. What little dust gets past this
first line of defense tends to be dislodged
by a unique CCD “shake” routine. The
result? Minimum dust, maximum clarity!
Even in total darkness (left), the NightShot system captures an image with infrared light (right). (Sample photo for
illustration purposes.)
24
De-mosaicing
Even with digital samples, we’re still short
of a complete picture. Because the image
sensor typically uses a mosaic color filter
array, each pixel is represented by a sample
of a single color only (Red, Green, or Blue).
To arrive at a usable picture, we need all
colors sampled at all pixels. The image
processor does this by calculating the likely
value for the missing colors by looking at
the adjacent color samples. This process is
called de-mosaicing.
Before de-mosaicing, the camera has just
one color sample per pixel (Red, Green or
Blue). After de-mosaicing, the camera has
Red, Green and Blue samples for every pixel.
Of these three, one is an original value
and two are calculated. At 14 bits for each
sample – Red, Green and Blue – each pixel
is represented as one of 16,384 x 16,384
x 16,384 or 4.4 trillion possible shades.
Setting ISO and white balance
In film photography, light sensitivity and
color characteristics are largely determined
by your choice of film stock. In digital
photography, these parameters are largely
determined by computations performed
by the image processor.
Before it can be recorded, the digitized,
de-mosaiced data still needs to be configured
as a computer file, typically in the Joint
Photographic Experts Group (JPEG) format.
This formatting is another function of the
image processor.
Analyzing the picture content
The image processor is also required to
evaluate the picture data to optimize various
camera settings. For example, the processor
evaluates the brightness of the image in
order to set the proper exposure. It evaluates
contrast in order to set the proper focus. And
today’s most advanced image processors
can even identify subject matter in the image,
such as faces, for high-precision adjustment
of focus, exposure, flash and white balance.
• Shutter Lag: The time it takes from
when you fully press the shutter until
the CCD captures the image.
• Shot-to-Shot Time: The time it takes
from the beginning of one shot to the
beginning of the next.
Displaying the picture
One of the joys of digital cameras is the
ability to see the picture in the LCD monitor.
The image processor supplies the right
information both when you frame the shot
and when you review pictures you’ve taken.
The image processor can even convert the
digital image into a video signal, suitable
for display on a standard definition or even
high definition television!
The challenge of speed
Conversion to a data file
• Start-up Time: The time it takes from
pressing the power switch until the
LCD display shows the scene.
Because the image processor is responsible
for so many functions, it plays a major role
in the overall responsiveness of a digital
camera. In fact, if you shoot sports, pets,
kids or other fast-moving subjects, the image
processor can actually make the difference
between getting or missing the shot you want.
The image processor is partly responsible
for three of the most important speed
requirements.
The challenge of noise
In digital images, “noise” refers to mottling,
flecks and specks of color that are unrelated
to the original scene. While the image sensor
contributes most of the noise, the image
processor is another factor. In addition,
smart processing can even reduce image
sensor noise.
Noise is critically important because it puts
limits on your photography. If it weren’t for
noise, you could simply switch to a higher
ISO setting to shoot in low light without a
flash or to freeze fast action. Minimizing
picture noise means maximizing your picturetaking opportunities.
The challenge of blur
Even when the camera is focused perfectly,
the picture can still be a blur. The culprit?
Camera shake. Any professional photographer
will tell you that the ultimate solution to
Continued on page 26.
The image processor calculates “in-between” values to assign a sample for all three colors at every pixel.
25
Shooting the digital way
CAMERA SYSTEMS
blur is a good tripod. But when a tripod
isn’t available, blur can happen under a
surprisingly wide range of circumstances.
• Low light, including evenings, nights
and many indoor shots.
• When flash would ruin the mood.
You could use flash to get the birthday
girl blowing out the candles. But
you wouldn’t get the glow of the
candle-lit scene.
• Sports photography. Fast-moving
sports can easily blur, especially
indoor sports.
• Telephoto shots are extremely
susceptible, because the narrow
angle of view tends to amplify the
effect of camera shake.
The challenge of
power consumption
Digital cameras tend to wear out batteries
quickly and unpredictably. With its intensive
calculations, the image processor is a
primary culprit.
CAMERA SYSTEMS
Sony image
processor
features
BIONZ™ image processor LSI
The most powerful processing Sony has
ever built into a digital camera.
To handle more megapixels
and perform ever-more-ambitious feats of
calculation, Sony needed a quantum leap
in image processing power. That’s how
the incredible BIONZ™ large scale integrated
circuit came into existence. Originally
featured in the award-winning a100
Digital SLR, the BIONZ processor is now
featured in a wide range of Sony’s latest
point-and-shoot cameras, where it not
only performs the usual image processing
functions, but goes far beyond, to a whole
new range of image possibilities:
• Full HD 1080 output means that you
can connect your Cyber-shot camera
to an HDTV and enjoy spectacular
HD performance.
• Face Detection can actually analyze
the picture data to identify up to eight
faces. Then the camera automatically
optimizes flash, focus, exposure and
white balance.
• Dynamic Range Optimizer (DRO)
corrects common exposure problems
such as “blown out” highlights and
“crushed” shadow detail.
The BIONZ LSI is the fastest, most powerful processor
Sony has ever built into a camera.
• In-camera retouching can
automatically apply Red-eye
Reduction and exciting special
effect filters.
• High-speed burst mode. The BIONZ
processor supports fast burst-mode
shooting of multi-megapixel images.
In fact, with the a100 Digital SLR,
you can continue to shoot fullresolution images at three frames
per second right up to the capacity
of recording media!
26
Face Detection
At Sony, anti-blur isn’t a “feature,” it’s
a passion. And it’s a comprehensive
commitment that extends to three
important aspects of camera design:
Taking advantage of the BIONZ™ integrated
circuit, Sony cameras accurately recognize
– and optimize – the human face.
Even a simple snapshot can trip
up the automatic adjustments
of a conventional camera. For
example, faces can easily become bleached
out because the flash was too strong. Faces
can be blurry if the camera doesn’t know
where to focus. And faces can become too
dark when sunlight or other light sources
are positioned behind the people you’re
shooting. Sony’s BIONZ™ processor solves
these problems with Face Detection.
As you shoot, the Face Detection function
actually analyzes the data that make up your
digital picture. In this way, Face Detection
can identify and track up to eight faces at
a time. Then the camera automatically
adjusts for optimum focus, exposure, flash
and even white balance on the faces
themselves. The result is far more “good”
pictures, far fewer rejects and re-takes.
• Super SteadyShot® optical image
stabilization directly counteracts
the effects of camera shake without
sacrificing resolution.
Sony solves common exposure, focus, flash and white balance problems with Face Detection technology. (Sample photos
for illustration purposes.)
IN-CAMERA RETOUCHING
Another tool for highlighting your subject is the Partial
Color filter. (Sample photos for illustration purposes.)
Red-eye Reduction filter suppresses the ghoulish red
even after you’ve taken the shot. (Sample photos for
illustration purposes.)
In-camera retouching
Creative options right in your camera,
thanks to the power of the BIONZ™
image processor.
Just as the BIONZ processor can optimize
the picture at the moment you take it, this
remarkable integrated circuit can also upgrade
your image after the fact. Selected Cyber-shot®
cameras can achieve creative results that
might otherwise require painstaking image
manipulation in a PC.
• Red-eye Reduction filter. Sony’s
pre-flash system can minimize the
ghoulish red that sometimes occurs
when a person’s retinas reflect light
from the camera flash. But if you
forget to use this feature, you can still
correct pictures after you’ve shot them
with the Red-eye Reduction filter.
Soft Edge filter accentuates your subject. (Sample photos
for illustration purposes.)
• Soft Edge filter helps accentuate your
subject by blurring the background. A
hallmark of professional photography,
the blurred background can make a
dramatic difference in the mood and
impact of your pictures.
The Star filter brings new excitement to nighttime
photography. (Sample photos for illustration purposes.)
Comprehensive
anti-blur technologies
Razor-sharp pictures, even at full
telephoto zoom, even in low light,
even with fast action.
• High ISO sensitivity settings
help enable handheld shooting
in low light.
• Clear RAW™ noise reduction enables
Sony cameras to pull usable images
out of low-light situations where
previous cameras would deliver
mottled, noise-laden images.
Taken together, the Sony approach to antiblur means clean, super-sharp pictures
under an impressively wide range of
circumstances: in low light, when using
telephoto lenses, for sports photography,
and when flash would ruin the mood. In
this way, Sony cameras get the shots that
others don’t.
Super SteadyShot®
optical image stabilization
Anti-Blur Feature 1: Direct compensation for
camera shake yields clear pictures under an
amazing range of shooting conditions.
The first component of our comprehensive
anti-blur strategy is to counteract the camera
Continued on page 28.
• Partial Color filter is another tool for
highlighting your subjects, rendering
them in full color while the background
appears in black and white.
• Fish-eye filter expands the center
of the picture creating powerful
landscapes and a comic effect
for portraits.
• Star filter makes nighttime
photography come alive by
creating beautiful star effects on
picture highlights.
Low light requires long exposures which can transform even slight camera movement into blur. Three Sony anti-blur
features, including Super SteadyShot optical image stabilization, reduce blur to a bare minimum. (Sample photos
for illustration purposes.)
27
Shooting the digital way
CAMERA SYSTEMS
CAMERA SYSTEMS
shake directly. Sony Super SteadyShot
optical image stabilization uses separate
vertical and horizontal sensors that detect
camera shake. As implemented in selected
Cyber-shot® cameras, the camera sends
an equal-but-opposite correcting signal
to a stabilization lens, which moves to
compensate for shake at no sacrifice of
picture quality.
most digital zooms soften the image further
still through “interpolation,” the need to
calculate intermediate values “between”
pixels. Our Smart Zoom feature overcomes
the problem. Smart Zoom modes crop into
the CCD image without interpolation, for
cleaner, sharper pictures.
NOISE
REDUCTION
NOISE
REDUCTION
NOISY
RAW
DATA
As a digital SLR that accepts interchangeable
lenses, the a100 takes a slightly different
approach. Instead of moving a lens element
to compensate for camera shake, the a100
moves the CCD! A super-smooth, super-fast
CCD transport makes it happen.
The second component of our comprehensive
anti-blur strategy is high ISO sensitivity.
Doubling the ISO sensitivity means halving
the amount of light required for a given
exposure. ISO sensitivity is a powerful ally
in fighting blur. Consider a low-light situation
that calls for an aperture of f2.8 and a shutter
speed of 1/8 second at ISO 200. A shutter
speed that slow might be susceptible to
camera shake, especially with a lens
zoomed in to telephoto. In that case, you
might be happy to increase the ISO to 400,
which enables you to cut the shutter speed
to 1/15 second, or choose an ISO of 800 for
a shutter speed of 1/30 second. With high
ISO sensitivity, you gain the flexibility to
get the shot!
While some digital cameras can reach
ISO 400 or so, most Sony cameras
achieve settings up to ISO 1000. Several
models can attain ISO 3200, while the
DSC-W200 can be switched into a
3 Megapixel mode for an ISO rating of
6400! These operational settings are made
possible by Sony’s third anti-blur feature:
Clear RAW noise reduction.
28
NOTE: Because it crops into the CCD, Smart Zoom
is not available at the highest camera resolution.
Optional accessory tripods
Other noise reduction systems work only after de-mosaicing
has spread noise into adjacent pixels. Sony Clear RAW
noise reduction operates on the camera’s RAW signal –
before de-mosaicing!
Noise (left) and the result of Clear RAW noise reduction
(right). (Sample photos for illustration purposes.)
High ISO sensitivity
Anti-Blur Feature 2: Higher ISO
settings enable you to shoot at
faster shutter speeds.
NOISE
REDUCED
DATA
BEFORE
AFTER
Clear RAW™ noise reduction
Anti-Blur Feature 3: More effective
processing for minimizing noise.
The third and final component of our
comprehensive anti-blur strategy is Clear
RAW noise reduction. In most cameras,
noise from the image sensor is passed
directly into the de-mosaicing process, where
noise tends to propagate into adjacent
pixels, making it harder to control. That’s
where the Sony Clear RAW system comes in.
Instead of trying to suppress noise after it
has spread, our Clear RAW system works
on the camera’s RAW image prior to
de-mosaicing. The result is more effective
noise reduction, for an image that’s
substantially cleaner. Clear RAW noise
reduction is a big advantage in low
light. And it’s the final step in our antiblur technology.
Real Imaging Processor™ LSI
Fast response, reduced picture “noise.”
The ultimate in anti-blur technology.
This section describes three Sony technologies
to overcome camera shake. However, the
ultimate anti-shake technology remains
outside the camera body, in the form of
optional, accessory tripods. When you
stabilize your camera on a tripod, you’ll
be perfectly set up for tack-sharp pictures
on long-exposure nighttime shots and full
telephoto shots.
The Sony Real Imaging Processor large
scale integrated circuit (LSI) delivers fast
response and low image noise – the digital
equivalent of film grain – an unwanted grit
or texture not present in the original scene.
And the processor reduces “aliasing”
distortions in the file conversion process.
All told, you’ll see better exposure, better
white balance and smoother, more
beautiful pictures.
For more information on the Real Imaging
Processor LSI, please refer to Sony Power
Features (page 33).
Smart Zoom® function
The Smart Zoom function allows you to crop
the frame to extract just the portion of interest
without interpolation. (Sample photos for
illustration purposes.)
Delivers the benefits of digital zoom
without the softness of interpolation
processing.
Digital zoom takes over where optical zoom
leaves off, using a progressively smaller
portion of the CCD to crop into the area
of interest. Unfortunately, in addition to
sacrificing the resolution of the full CCD,
Viewfinder
and monitor
Digital camera technology offers three devices
to help you frame your shots.
Sony
viewfinder
and monitor
features
Large LCD monitor
• Optical viewfinder. Experienced film
photographers are well practiced at
using an optical viewfinder. Not only do
they know how to use the viewfinder to
frame their shots, they also know how
to “anchor” the camera against the face,
locking the elbows against the chest to
minimize camera shake.
• LCD monitor. While optical viewfinders
have their undoubted advantages, digital
cameras also enable you to frame the
picture on an LCD monitor screen. This
is an entirely different experience. For
example, looking at the LCD screen,
you can hold the camera at arm’s length
above the heads of the crowd, to shoot
a parade. The LCD monitor has the
additional advantages of 100% framing,
plus a live preview of your exposure and
white balance settings.
• TTL electronic viewfinder. Combining
attributes of both methods is a third
alternative: the eye-level, through-thelens (TTL) electronic viewfinder. As with
an optical viewfinder, you hold the
camera up to your eye and look into a
small window. As with the LCD monitor,
what you see is a live preview on a
miniature LCD screen.
Makes digital cameras even more
attractive.
A digital camera’s LCD monitor is your
window on the world. Before you take
the shot, the monitor shows you control
menus and image framing. After you’ve
taken the shot, the monitor is your first
opportunity to show off your work. That’s
why our 2.0, 2.5, and even 3.0-inch LCD
monitors are so desirable (viewable area
measured diagonally). And Sony now
offers the world’s largest, highest-resolution
LCD monitor on a digital camera (as of
June 15, 2007): the 3.5-inch 921K pixel
screen of the Sony DSC-G1 (viewable area
measured diagonally). Sony consistently
builds large monitors because a bigger
screen makes a huge difference in enjoying
the camera. It means bigger menus. It
makes framing easier to see. And it’s far
more effective when it comes to showing
off your results!
Transflective LCD monitor
Uses sunlight for increased brightness.
Some LCD monitors tend to wash out in direct
sunlight. But selected Sony cameras aren’t
afraid of the sun. In darkness, the monitors
get transmissive light from inside these
cameras. In sunlight, the monitors use
both transmissive and reflective light, in
our transflective design.
Stabilize your camera with a Sony VCT-1500L
lightweight tripod.
29
Shooting the digital way
CAMERA SYSTEMS
CAMERA SYSTEMS
customize the finder to your specific vision.
An optional magnifier and angle finder give
you creative flexibility.
Clear Photo LCD Plus™ monitor
Optimum contrast and color.
Our best camera LCD is the Clear Photo
LCD Plus monitor. This jewel-like monitor
delivers higher resolution, better contrast,
and 40% better color than previous Sony
LCDs. You’ll find this outstanding quality
featured on the DSC-W200, T20, T100,
N2, H9 and the a100 Digital SLR.
In film cameras, the film both senses and
Xross Media Bar™
inspired interface
With its large Clear Photo LCD Plus™ monitor, the DSC-N2
is not merely for taking pictures, it’s also for showing
them off. (Monitor picture simulated.)
Freedom in shooting angles.
True zoom optical viewfinder
The clarity and immediacy of an
optical finder.
The DSC-W55, W80, W90 and W200 offer
the option of framing your shots on our true
zoom optical viewfinder. This incorporates
its own lens system that zooms along with
the lens that takes the picture, to maintain
accurate framing. The optical viewfinder is
great option for photographers who prefer
the conventional shooting style, and it’s a
great alternative in bright sunlight.
TTL eye-level
electronic viewfinder
A second LCD monitor for classic
shooting style.
30
stores the image. In digital cameras, these
two functions are divided. The image sensor
Free-angle LCD monitor
The LCD monitor of the DSC-H9 offers the
remarkable flexibility of the Sony free-angle
design. You can twist the monitor up to
frame your shot looking down at the camera.
It’s great for holding the camera low – down
to the ground even – for shots of kids and
pets. Or if you’re stuck in a crowd at a parade
or a concert, twist the monitor down, hold
the camera over your head and frame your
shot that way.
Storage
With the free-angle LCD monitor, you can accurately
frame high and low-angle shots without bending,
stooping or contorting with your face pressed up
against the viewfinder. (Monitor picture simulated.)
Advanced shooters may prefer the classic,
35mm SLR style of shooting, with the
camera viewfinder held up to the eye,
the camera pressed against the face
and the elbows tucked in. This style
promotes greater stability and reduced
camera shake – a decided advantage in
long exposures and extreme telephoto
shooting. That’s why our DSC-H7 and
H9 offer true, through-the-lens (TTL)
electronic eye-level viewfinders.
TTL optical viewfinder
The ultimate in creative control.
If you want nothing less than the most
complete information on how the lens is
focusing, you may prefer the Sony a100
Digital SLR. Here is a strictly optical
viewfinder that shows you what the lens
is seeing and a ground glass that reveals
exactly how the lens is focusing. A family
of optional diopter adjustment lenses can
Easy navigation of every feature
and function.
When Sony camera engineers saw
the PlayStation® Portable, they were
impressed with more than the games.
They loved the way the Xross Media Bar
(XMB™) interface made it so easy to move
between functions, simply by moving left,
right, up and down. So they took the XMB
interface as the point of departure for the
next generation of Cyber-shot camera
control. You activate the new interface simply
by pressing the camera’s Home button.
And as you navigate, clear Function Guide
messages help you make the right choices
for your shooting situation.
detects the image, and then after processing,
the camera’s on-board storage media saves
RAW file formats are specific to the
imager of each camera. In fact, RAW
files can vary from camera to camera
within one camera company’s line. That’s
why RAW files are intended to work
with camera-specific converter software
or camera-specific plug-ins.
the picture.
JPEG file format
All Sony digital cameras use the industrystandard Joint Photographic Experts Group
(JPEG) file format. Just about any computer
application that uses images will work with
JPEG files. JPEGs are so popular because
they maintain high picture quality in minimum
file sizes. The secret is JPEG compression,
which enables you to fit more images onto
a camera’s memory card. The compression
works because one pixel of blue sky is almost
exactly the same as the pixel next to it. JPEG
compression squeezes these redundancies
out of the data while maintaining high
picture quality.
RAW file formats
The new Cyber-shot user interface is inspired by the
Sony PlayStation Portable Xross Media Bar (XMB)
interface. (Simulated picture.)
And in instead of automatic processing,
RAW images receive carefully considered
processing that you can evaluate and control
each step of the way.
As good as JPEG images are, they do limit
the amount of color correction and image
enhancement you can perform on your
computer. Attempt too much enhancement
and JPEG picture quality suffers. That’s why
serious photographers prefer uncompressed
RAW image files. These files capture the
data straight out of the analog-to-digital
converter, prior to de-mosaicing and other
camera processing operations.
Instead of using the relatively limited resources
of the camera’s own processing, RAW images
can take advantage of the extensive resources
of PC image processing applications, such
as Adobe ® Photoshop ® CS software.
Sony storage
features
JPEG format
Broad compatibility, strong combination
of picture quality and storage efficiency.
JPEG images are compatible with just about
any computer application that accepts
pictures. And JPEG images are spaceefficient, enabling you to save more pictures
on a given memory card. Sony lets you
choose between JPEG Fine mode (for
picture quality) and JPEG Standard mode
(for storing about 80% more pictures).
RAW format
The a100 Digital SLR can capture RAW
image data, free from the camera’s
digital processing.
Serious photo enthusiasts know that image
making is a two-step process: the moment
of capture and the magic of the darkroom.
In the “digital darkroom” of PC photo
enhancement, you can correct the color,
highlight exposure and shadow detail –
with the ability to change your mind and
start over from scratch. Unfortunately,
digital camera processing and JPEG
compression impose irreversible effects
that inevitably limit your freedom to refine
the image later on!
That’s why the a100 Digital SLR offers RAW
image capture, which bypasses the camera’s
internal signal processing. Think of the
RAW image file as the digital equivalent
of unprocessed film, with all the latent
possibilities of the image left intact. When
you take a RAW mode picture, the camera
also saves a JPEG image that you can see
on the LCD monitor. Unlike JPEG files, Sony
RAW files are not directly compatible with
most image software. They must first be
converted with our supplied Image Data
Converter SR software or with the appropriate
plug-in for Adobe® Photoshop® CS software.
Internal memory
With our latest Cyber-shot® cameras,
you’ll never worry about leaving the media
at home. It’s built into the camera!
All current Sony Cyber-shot® cameras feature
internal memory, in addition to a slot for
optional Memory Stick PRO Duo™ media.
Internal memory means you’ll never be
caught short because you left the media
someplace else. It also enables you to
extend shot capacity with optional Memory
Stick PRO Duo media and copy pictures
between the internal memory and Memory
Stick PRO Duo media, for easy transfer to
and from other cameras, PCs, printers and
print kiosks.
Memory Stick PRO Duo™
media
Ample storage in an ultra-slim form factor,
fast read/write speeds and compatibility
with millions of devices, worldwide.
Even if you never plan on taking the flash
media card out of the camera, Sony Memory
Stick media has important advantages.
Continued on page 32.
31
Shooting the digital way
CAMERA SYSTEMS
The Memory Stick PRO Duo™ media family now offers
capacity for literally thousands of shots.
CAMERA SYSTEMS
cards. That’s why the cameras support
both Memory Stick® media cards and
CompactFlash™ Type I and II cards.
Power
The a100 Digital SLR offers a single
CompactFlash slot and accepts Memory
Stick media via the supplied adaptor.
(CompactFlash storage performance is
not guaranteed. File system is FAT 16/32
compatible.)
With so many power-intensive processes,
it’s no wonder that so many cameras,
both film and digital, tend to “eat” their
batteries. Unlike flashlights and audio
players, which tend to use power smoothly
• Speed. The flash media transfer
speed helps define the “shutter
interval” between shots.
• Capacity determines how many shots
you can save at a time. With Memory
Stick PRO™ media capacities of up to
8 gigabytes, there’s room for hundreds
of pictures. (Available storage capacity
may vary. A portion of the memory is
used for data management functions.
Actual available memory in MBs is
256=220, 512=460, 1GB=940MB,
2GB=1.85GB, 4GB=3.66GB,
8GB=7.35GB. Memory Stick® transfer
speeds vary by and are dependent
upon the host hardware device.)
• Form factor. The ultra-slim shape
of Memory Stick PRO Duo™ media
helps define the ultra-slim shape
of Cyber-shot® S, W and T Series
models.
• Compatibility. If you do slide out
the Memory Stick ® media card,
you’ll find it’s compatible with
millions of devices, for easy transfer
of your pictures to a huge population
of PlayStation® Portable (PSP™) units,
computers, printers, retail photo
printing kiosks, and televisions.
and predictably, photography can lead to
rapid, unpredictable battery drain. Powerhungry image processors, LCD monitors
and flash units can surprise you with a
loss of power at exactly the wrong time. In
addition, “memory effect” can curtail the life
of rechargeable batteries. Today’s better
The a100 Digital SLR supports both Memory Stick®
and CompactFlash™ media.
cameras address these issues.
Maximum power in minimum size.
Sony’s extraordinary NP-BG1 rechargeable
battery pack takes advantage of Lithium Ion
chemistry to provide ample battery power
in a very small package. That’s a crucial
advantage in making Sony cameras so
sleek and portable. Lithium Ion batteries
hold up to four times the charge of overthe-counter NiCad batteries, and up to
three times the voltage of Nickel Metal
Hydride (NiMH). Lithium Ion technology
also resists “memory effect,” the tendency
of some batteries to lose staying power
if they’re not completely drained before
recharging. And unlike some other designs,
when you charge a Lithium Ion battery,
it actually stays charged.
NiMH Stamina® batteries
Affordable, replaceable battery power.
Selected Sony cameras accept Nickel Metal
Hydride rechargeable batteries that boast
high capacity. In fact, selected Sony AA
NiMH batteries can pack up to 2500 mAh
of charge – amazing in a battery so small.
That’s up to two times the capacity of NiCad
batteries. So you can get hundreds of shots
on a single charge! (Actual battery life varies
according to use.)
NiMH batteries are also easy to recharge.
And their standard AA size delivers another
benefit. Even when you’re away from a
charger, you can temporarily replace the
NiMH batteries with off-the-shelf alkaline
batteries from any convenience store.
Since alkalines aren’t nearly as strong as
NiMH, the ability to switch to alkalines is
remarkable. The secret is the Sony Real
Imaging Processor LSI, which uses power
so efficiently that these cameras can run on
both battery types.
Use your digital camera to capture movies
with sound!
Most Sony digital cameras can capture
smooth, high resolution movie sequences
with sound that you can watch on the
camera’s LCD monitor or your television.
Cyber-shot cameras work with the superior
transfer speed of Sony Memory Stick PRO™
media to deliver high frame rates for smooth
motion in MPEG Movie VX Fine mode. VX
Fine mode achieves a major yardstick of
full motion video performance: 30 frames
per second.
Most Cyber-shot® cameras are supplied with Sony’s
remarkable NP-BG1 battery pack, which features
Lithium Ion technology for long life.
RESOLUTION
FRAME RATE
(APPROX.)
DATA RATE
(APPROX.)
A choice for even greater storage versatility.
MPEG Movie Video Mail
160 x 112
8 fps
0.18 Mbps
MPEG Movie VX
640 x 480
16 fps
2.9 Mbps
MPEG Movie VX Fine
640 x 480
30 fps
10.5 Mbps
Many of our digital cameras are also movie cameras, with our MPEG Movie modes.
(Sample photos for illustration purposes.)
Sony’s InfoLITHIUM battery combines all the
advantages of Lithium Ion chemistry with a
special integrated circuit control interface.
That’s the “info” in InfoLITHIUM batteries. This
on-battery chip dynamically monitors the
power draw and communicates the battery
status to the camera, enabling Sony digital
cameras to display remaining battery power
Sony’s Real Imaging Processor LSI reduces
power consumption by an incredible 70%
over previous models. As a result, our
DSC-S650 and DSC-S700 can keep taking
pictures long after other cameras have run
out of gas. There’s more. The LSI needs so
little power that two AA batteries can now
do the work that once required four!
For more information on the Real Imaging
Processor LSI, please turn to the section on
Sony Processing Features (page 28).
The AccuPower meter at the upper left of the LCD screen
uses information from an on-battery chip to show 117
minutes of battery power remaining. (Sample photo for
illustration purposes.)
Batteries and charger included
Most Sony cameras include everything you
need, right out of the box.
InfoLITHIUM® battery with
AccuPower® meter
A Sony exclusive – accurate readout of
remaining battery time in minutes!
MODE
32
Lithium Ion battery
right to the minute. No more worries about
unexpectedly losing power when you’re out
and about. No more nasty surprises.
MPEG Movie modes
Dual media capability
Intended for professionals and serious
amateurs, the Sony a100 Digital SLR is
sold with the expectation that the owner
will already have high-capacity flash memory
Sony power
features
Accessory batteries and
chargers
Left: You can recharge our NiMH batteries, or substitute
store-bought alkaline batteries on a moment’s notice.
Right: Stay in power with an extra NP-FR1 InfoLITHIUM®
battery and a BC-TR1 compact charger.
Keep the good times rolling with Sony
accessory batteries and chargers.
Real Imaging Processor™ LSI
Reduces power consumption by a whopping
70%, extends battery life.
An original circuit designed and built by Sony, the
Real Imaging Processor LSI helps reduce power
consumption by 70%.
33
Taking your best shot
CAMERA CONTROL
Focus
CAMERA CONTROL
Sony focus
features
For the complete story on Face Detection
and the BIONZ processor, please turn to
page 26.
With all but the most basic cameras, image
sharpness depends on adjusting the lens
Face Detection
according to the distance to the subject. This,
Taking advantage of the BIONZ™ integrated
circuit, Sony cameras accurately recognize
– and focus on – the human face.
of course, is focus.
During manual focus, you can consult
the image in the LCD monitor, electronic
viewfinder or through-the-lens optical
viewfinder. You then adjust the focus until
the subject is clear. On auto focus cameras,
you can simply point and shoot.
Typical auto focus (AF) systems detect the
picture information coming off the image
sensor. When contrast in the image is highest,
the subject is in focus. When contrast is low,
the image is out of focus. In this way, AF
systems can work quickly and automatically.
Even a simple snapshot can trip
up the automatic focus on a
conventional camera. Sony’s
BIONZ™ processor solves this problem with
Face Detection. As you shoot, the Face
Detection function actually analyzes the
data that make up your digital picture. In
this way, Face Detection can identify and
track up to eight faces at a time. Then the
camera automatically adjusts for optimum
focus, exposure, flash and even white balance
on the faces themselves. The result is far more
“good” pictures, far fewer rejects and re-takes.
AF Illuminator
Accurate focusing, even in low light.
Auto focus can run into trouble in low light,
when the camera can’t “see” contrast coming
off the image sensor. That’s why Sony offers
AF Illuminator. The camera throws a special
light on the subject prior to the shot, so the
camera can “see” the subject’s contrast. You
get accurate focusing, even in low light.
If the subject is off-center, cameras with a single focus point (left) tend to focus on the background. Sony Multi-Point AF (right) automatically brings the subjects into focus. (Sample
photos for illustration purposes.)
To keep up with fast action, the DSC-H7
and H9 15x zoom cameras incorporate a
special version of Continuous AF (discussed
in the Selectable AF section below). Instead
of simply “keeping up” with your moving
subject, the camera actually predicts where
the subject will go in the interval between
shutter release and image capture. This can
be a key advantage in sports, especially if
the subject is moving towards you.
Multi-Point Auto Focus
Automatically finds the focus, even when
your subject isn’t in the center of the frame.
AF systems generally work quite well.
But they can be thrown off by some
tricky circumstances.
A super-fast 1/4000 second shutter speed
helps to freeze the action on even the
fastest midfielder.
• The challenge of darkness.
Unfortunately, auto focus can run
into trouble in low light, when the
camera can’t “see” contrast coming
off the image sensor.
• The challenge of composition.
Most AF systems look towards the
center of the frame. Unfortunately, if
your subject is away from the center,
the camera could well be focusing
on the wrong thing.
• The challenge of subject motion.
If you’re shooting kids, pets or sports,
your subject can unexpectedly move
toward or away from the camera. This
means the camera-to-subject distance
is changing from moment to moment –
another challenge for AF systems.
For these reasons, Sony has developed
an array of powerful features for focus
illumination, processing and control.
34
Selectable AF
With the Flexible Spot AF of the DSC-H7, H9, and N2, you can frame the shot first, then
use the camera controls to select the focus point. (Sample photo for illustration purposes.)
Sony solves common focus problems with Face Detection technology. (Sample photos for illustration purposes.)
DIS
TA
NC
?
EU
DIS
TAN
C
NC
ERT
AIN
INCORRECT FOCUS
E C
ERT
AIN
CORRECT FOCUS
While conventional focus (left) becomes very hit-or-miss in low light, our AF Illuminator (right) is right on target. (Sample
photos for illustration purposes.)
Simple cameras simply focus on whatever is
in the middle of the frame. But when you’re
taking a picture of two people, the center
of the frame often shows the background –
the wrong place to focus! In other cases,
you’ll get a more creative shot when the
subject is off center. For these reasons,
Sony developed Multi-Point Auto Focus.
Some Sony cameras use a five-point system,
automatically selecting the right focus
points based on your composition. Cameras
equipped with the BIONZ™ processor use
a nine-point system. So you get critically
accurate focusing under a wider range
of conditions.
To accommodate the full range of shooting
situations, Multi-Point AF also includes
switchable modes like Center AF, which
uses only the center area, Spot AF,
which uses only a tiny spot and Focus
Lock, which enables you to focus first, and
then frame the shot any way you want.
Advanced Sports Shooting
Mode Auto Focus
Predictive auto focus knows not only
where your little soccer player is,
but where she’s going.
Perfect for unpredictable sports and fastmoving subjects, because you can choose
a more responsive focus mode.
Single Shot Auto Focus “locks” onto the
subject as soon as you press the shutter
half-way, which can be a problem when
there’s plenty of relative motion between
the subject and the camera.
• Single Shot AF is ideal for subjects
that are standing still. The Auto Focus
process doesn’t begin until you press
the shutter halfway.
• Monitor AF speeds the shot, an
important advantage in sports
Continued on page 36.
35
Taking your best shot
CAMERA CONTROL
photography. In Monitor AF, the
camera is always “pre-focusing”
and doesn’t lock until you press
the shutter halfway. Thanks to prefocusing, the camera is faster to
take the shot, improving your chances
of getting exactly the shot you want.
And Monitor AF works together with
Multi-Point AF to intelligently capture
your subject.
CAMERA CONTROL
Exposure
NO
TF
OC
US
An essential part of photography, exposure
FO
CU
S
power
on
1/2
press
determines the amount of incoming light
LO
that reaches the image sensor. Cameras
CK
control exposure by varying the lens opening
shutter
released
• Continuous AF is ideal when the
subject may be moving towards or
away from you. It’s especially useful
for unpredictable subjects such as
sports, pets and little kids at play.
Not only is the camera always
“pre-focusing,” but the camera also
continues to track your subject right
up until the moment of exposure.
(aperture) and the amount of time given to
the creative joys of photography is that
there’s no single combination of aperture
and shutter speed that’s uniquely correct.
FO
Single AF is ideal for subjects that stand still. (Sample photo for
illustration purposes.)
Enables you to move the focus spot
almost anywhere in the frame, useful
for tripod shooting.
Aperture
S
LO
CK
power
on
1/2
press
shutter
released
Manual focus
Manual control when you need it.
Most Sony cameras also include manual
focus for five preset distances, enabling
you to take control. The DSC-H7, H9, and
the a100 Digital SLR go beyond this with
continuously variable manual focus.
FO
CU
S
LO
power
on
1/2
press
CK
shutter
released
Continuous AF is ideal for fast moving subjects, particularly ones
moving towards you. The focus keeps tracking until the moment
of exposure. (Note: Continuous AF uses center-point focusing only.)
(Sample photos for illustration purposes.)
36
Shutter speed
taking the picture (shutter speed). One of
CU
Flexible Spot AF
Maximum aperture, the smallest f stop at
which the lens can be used is an important
attribute of lens quality. Lenses that are
capable of a very wide maximum aperture
(f1.4, for example) are called “bright”
because they admit plenty of light and “fast”
because they enable the photographer to
work at faster shutter speeds. These lenses
also tend to cost more.
Monitor AF pre-focuses the shot to speed your picture-taking
when you want to capture a “decisive moment.” (Sample
photos for illustration purposes.)
The word “aperture” refers to both a physical
part of the camera, a circular window inside
the lens that opens and closes, as well as
the number that describes the size of the
opening. The number is also called an “f
number.” This represents the focal length
of the lens divided by the diameter of the
aperture opening. For example, in a 50mm
lens, a 12.5mm opening would have a
number of f4. A 25mm opening would be
f2. The smaller the f number, the wider the
aperture opening.
Aperture openings are typically designed to
increase in discrete steps, called “f stops.”
As you open the aperture, each additional
f stop doubles the amount of incoming light.
Thanks to the geometry of the lens, each f
stop has an f number that’s the square root
of 2 times the previous f number. That’s why
f stops form the characteristic series of f1.4,
f2.0, f2.8, f4, f5.6, f8, f11, f16 and so on.
The choice of f stop affects more than simply
the amount of incoming light. Wide apertures
(low f numbers) result in limited depth of
focus. So the background tends to blur.
Narrow apertures (high f numbers) tend
to keep the entire scene in focus.
Cameras use a shutter to control the duration
of exposure. This duration is called the shutter
speed, and is typically a fraction of a second.
Shutter speed ranges are typically designed
to double or halve the speed with each step.
That’s why shutter speeds typically form a
series such as 1, 1/2, 1/4, 1/8, 1/15, 1/30,
1/60, 1/120 and so on.
As with aperture, the choice of shutter speed
affects more than the simple amount of
incoming light. Fast shutter speeds tend
to freeze motion. Slow shutter speeds
tend to exaggerate motion, in the form of blur.
might combine a stopped-down aperture
and a slow shutter speed to create a beautiful
motion blur.
ISO sensitivity
In film, a third method of managing exposure
is the choice of film “speed” or ISO sensitivity.
“Fast” film with a high ISO number is better
suited for shooting in low light, at some cost
in picture grain. In a similar way, digital
cameras offer ISO sensitivity settings. These
use electronic gain to increase the image
brightness at some cost in picture “noise.”
Typically each doubling of ISO sensitivity
rating equals +1 EV. This enables advanced
photographers to optimize the image by
adjusting shutter, aperture and ISO all
at once!
Auto Exposure (AE)
Of course, Auto Exposure (AE) systems can
make all the exposure decisions for you.
Sophisticated light metering and processing
can measure the light levels from your subject
and choose appropriate exposure settings.
Exposure Value
The basic unit of exposure is the Exposure
Value (EV). An increase of +1 EV represents
a doubling of the incoming light, either by
doubling the time the shutter stays open or
opening up the aperture by one f stop.
• Backlight and highlight. One obvious
difficulty in auto exposure is the case
where your subject is significantly
Continued on page 38.
Smaller
Iris
Larger
Iris
Aperture + shutter = creativity
Each f stop doubles or halves the amount of
light. Each step of shutter speed adjustment
does the same. In this way, you can choose
from several aperture/shutter combinations
that result in the same total value of incoming
light. The result is more than just proper
technical exposure. It’s creative freedom.
For example, in portraits, a combination
of open aperture and fast shutter speed
will tend to blur the background, throwing
more attention on your subject. In sports
photography, the same exposure value
Same Exposure Value
Longer
Shutter
Shorter
Shutter
The camera’s iris controls the size of the lens opening
or “aperture.” A larger aperture (lower “f number”) means
more light can reach the CCD. For a given Exposure
Value, a wider aperture means a faster shutter speed
(shorter exposure time).
37
Taking your best shot
CAMERA CONTROL
CAMERA CONTROL
darker than the overall scene. Think
of a downhill skier on a sunny day,
where most of the frame is bright,
white snow. Significantly brighter
objects on dark backgrounds pose
the opposite problem. Camera
designers have ways to overcome
this challenge.
• Specific scenes. Twilight, candlelight,
fireworks and other common shooting
situations pose their own, specific
exposure challenges. Special
“scene modes” can address these
exposure issues.
Sony
exposure
features
track up to eight faces at a time. Then the
camera automatically adjusts for optimum
focus, exposure, flash and even white
balance on the faces themselves. The
result is far more “good” pictures, far fewer
rejects and re-takes.
Shutter Priority Auto Exposure
SCENE MODES
MODE
ICON
SAMPLE PHOTO
DESCRIPTION
Slow shutter reproduces the mellow
atmosphere of a night scene beautifully.
Twilight
Extends the shutter speed up to two
seconds, compared to 1/30 second for
Face Detection
Taking advantage of the BIONZ™ integrated
circuit, Sony cameras accurately recognize
– and properly expose – the human face.
Auto mode.
For the complete story on Face Detection
and the BIONZ processor, please turn to
page 26.
Uses flash only on people in the
foreground, while using a long shutter
Twilight
Portrait
speed to reproduce the background
beautifully.
Full range of exposure modes
Even a simple snapshot can
trip up the automatic exposure
of a conventional camera. For
example, faces can become too dark when
sunlight or other light sources are positioned
behind the people you’re shooting. Sony’s
BIONZ™ processor solves this problem with
Face Detection. As you shoot, the Face
Detection function actually analyzes the
data that make up your digital picture. In
this way, Face Detection can identify and
Applies maximum aperture to bring
For everybody from the absolute beginner
to the expert user.
Because exposure is so important for picture
quality and creativity, Sony cameras give
you a wide array of ways to control it,
ranging all the way from fully automatic
for the beginning photographer to full
manual for the expert shooter.
An advanced mode for greater creative
control.
the person into focus while allowing
Soft Snap,
Portrait
the background to fall out of focus.
Reproduces beautiful skin tones;
makes the entire image softer.
Shutter Priority enables you to select the
shutter speed manually, while the camera
automatically selects the appropriate aperture.
This lets you use a fast shutter speed to
freeze sports action – or a slow shutter
speed to introduce an intentional blur on
moving objects. If you “pan” along with a
moving ice skater, a slow shutter speed
will blur the background. And if you shoot
a waterfall with slow shutter speed, the water
will take on a beautiful, lace-like effect.
Continued on page 40.
Reproduces the atmosphere of the
entire landscape. Captures saturated
Landscape
blues and greens.
Uses a fast shutter speed for bright
light and adjusts white balance to
Snow
capture snow as clear white.
Scene modes
Easily identified by icons, these modes
optimize the camera’s auto exposure
system, achieving ideal results for many
popular shooting situations.
Captures saturated blue to emphasize
the water.
Slow shutter speed enables you to blur the background
as you “pan” the camera.
Beach
Reproduces the atmosphere of a
Program Auto Exposure
Sony solves common exposure problems with Face Detection technology. (Sample photos for illustration purposes.)
FULL RANGE OF EXPOSURE MODES
USER
MODE
Beginner
Auto
Beginner
38
Scene Modes
ICON
SCN
SHUTTER
APERTURE
OTHERS
Auto
Auto
Auto
Auto
Auto
Semi-automatic exposure for the
intermediate photographer, Program AE
gives you manual adjustment of ISO
sensitivity, White Balance and Exposure
Compensation.
Program Auto
P
Auto
Auto
Adjustable
Advanced
Shutter Priority
S
Adjustable
Auto
Adjustable
Advanced
Aperture Priority
A
Auto
Adjustable
Adjustable
Expert
Manual Exposure
M
Adjustable
Adjustable
Adjustable
Sets a slow shutter speed and high
color saturation to emphasize the
Fireworks
bright colors of fireworks.
You can also introduce an evocative blur to the subject
with slow shutter speed.
Uses a fast shutter speed to produce a
Exposure Compensation
clear picture of fast-moving subjects.
Fast Shutter
Adjustable
Intermediate
candle-lit scene without flash.
Candle
Lets you adjust the Program Auto Exposure
when backlighting or unusually bright
subjects might throw the exposure off.
Great for sports.
Displays a magnified image on the LCD
Magnifying
Glass
in macro focus shooting. Suppresses
flash to avoid saturated whites.
Sample photos for illustration purposes.
Fast shutter speed freezes the runner and the background.
(Sample photos for illustration purposes.)
39
Taking your best shot
CAMERA CONTROL
Note that long shutter speeds exaggerate
the effect of camera shake. Clear images
require steady hands or some means of
camera support, such as a Sony accessory
tripod. Camera shake is also exaggerated
when you zoom the lens to telephoto.
Aperture Priority Auto Exposure
An advanced mode for greater creative
control.
Aperture Priority enables you to select the
lens opening or “f number” manually, while
the camera automatically selects the
appropriate shutter speed. This lets you
choose a wide opening (low f number) to
blur the background or a narrow opening
(high f number) to keep both the subject
and the background in sharp focus.
AE Lock
Enables you to lock in the exposure first,
before you frame the shot. Perfect when the
subject will be far off-center in the frame.
CAMERA CONTROL
Multi-Pattern Measuring
Sony divides the image into 49 points to
measure incoming light and intelligently
set exposure levels.
A narrow aperture (high f number) keeps everything in
focus (left) while a wide-open aperture (low f number)
tends to blur the background, calling the viewers’ attention
to the subject. (Sample photos for illustration purposes.)
ISO sensitivity adjustment
Electronic adjustment for increased
sensitivity when you need it.
The ability to change ISO sensitivity with a
flick of a switch is a big difference between
film photography and digital photography.
It’s like going from low-speed film to highspeed film in an instant. As you select higher
ISO sensitivity, you increase the electronic
“gain,” achieving a brighter image at some
sacrifice in picture “noise” or “grain.” Because
each ISO level is also an EV step, you can
creatively trade off ISO settings versus aperture
and shutter settings to achieve the effect
you want.
Auto Bracketing
A crucial factor in any auto exposure system
is the method of measuring incoming light.
Our Multi-Pattern Measuring examines
49 points across the frame in a seven-byseven grid. In this way, the camera isn’t
thrown off by a single bright highlight or
deep shadow.
A quick and easy way to confirm proper
exposure; great for getting pictures right
the first time.
Shadow Highlight
Our Multi-Pattern Measuring won’t get thrown off by a
single bright highlight or deep shadow. (Sample photo
for illustration purposes.)
When you want the ultimate control over your
photography, there is no substitute for Manual
Exposure mode. Selecting your shutter speed
and aperture means exercising sophisticated
control over the way you capture motion
and the separation between foreground
and background. Manual Exposure puts
the entire mood and emphasis of each
shot into your hands.
Auto Bracketing takes three consecutive
pictures at, above and below the auto
exposure level. Depending on camera
model, you can adjust the bracketing from
+/- 1/3 Exposure Value (EV) to +/- 1 EV.
For additional flexibility, Center-Weighted
and Spot metering ensure proper exposure
when the subject is far brighter or darker
than the background.
White Balance
Get natural-looking colors in every lighting
condition, expand your creativity.
Histogram
Are you getting the right exposure? Under
most situations, just one look at the LCD
monitor will reveal the answer. But when
difficult viewing conditions make it hard
for you to see subtle shading on the LCD
monitor, the Sony histogram display has
the answers. This LCD monitor display
indicates the exact details of your exposure.
The histogram is a graph showing how
many pixels in the image occur at each
light intensity, all the way from full black
(at the left) to full white (at the right). In
general, you have the correct exposure when
the histogram indicates pixels across the
full range of light intensity.
The brain understands that a white piece
of paper is still “white” whether it’s seen in
sunlight, fluorescent light or incandescent
light. But in digital photography, the white
paper could end up looking reddish, yellowish
or greenish, depending on the main light
source. That’s why Sony cameras have
sophisticated White Balance controls. White
Balance establishes the “right” color balance
for a wide variety of conditions. You can also
adjust white balance to alter color values, for
another dimension in photographic creativity.
Dynamic Range
Optimizer (DRO)
A BIONZ processor function that delivers
better exposure in highlight and shadow
areas.
INTERPRETING A HISTOGRAM
# of Pixels
For total creative control, a wide range of
Sony cameras offers Manual Exposure.
Spot metering makes sense in cases like this, when
the subject is much brighter than the background.
(Sample photo for illustration purposes.)
49 POINT
ANALYSIS
Manual Exposure
“Exposure insurance” for once-in-a-lifetime
photo opportunities.
Dynamic Range Optimizer can help pull detail out of the shadows, especially in difficult backlight conditions. (Sample photos
for illustration purposes.)
UNDER EXPOSURE
BLACK
CORRECT EXPOSURE
OVER EXPOSURE
WHITE
Brightness
Auto Bracketing automatically takes shots at, over and under the automatically determined Exposure Value. (Sample
photos for illustration purposes.)
40
The LCD monitor histogram is a graph
of your exposure. This graph shows that
while most of the picture is in the deep
shadow range, the picture contains the
full range of brightness levels.
Using the histogram to assist exposure. The underexposed image has no
bright values. The overexposed image has no dark values. The correct
exposure has a full range of values from black to white. (Sample photos
for illustration purposes.)
Why can’t a camera capture what the eye
sees? Often, the culprit is limited dynamic
range. Expose for shadow detail and you
end up “blowing out” the highlights. Expose
for the highlights and you end up “crushing”
the blacks. That’s where the Sony Dynamic
Range Optimizer (DRO) comes in.
In selected Cyber-shot cameras, DRO
automatically adjusts exposure and contrast
to achieve optimal results. Even when there’s
a huge difference in brightness between
your subject and the background (such
as family members back-lit by the setting
sun), your pictures are beautifully exposed.
The a100 Digital SLR offers two distinct
modes of DRO. DRO Normal selects from
the most appropriate of 400,000 gamma
curves to improve shadow detail. DRO
Advanced adjusts area-by-area, to maximize
detail in both highlight and shadow areas.
Burst mode
Catch a rapid sequence of shots, great for
sports and unpredictable subjects like
kids and pets.
If you can’t predict when the perfect shot
might occur, Burst mode gives you a range
of choices. Burst mode shoots rapidly
and repeatedly, with the number of shots
depending on image size and memory
transfer speed. Also depending on
memory transfer speed, the a100 can
continue taking pictures at 3 frames per
second up to the limit of the memory card.
41
Taking your best shot
CAMERA CONTROL
Multi-Burst
A sequence of images that plays back
on-screen, Multi-Burst is perfect for
analyzing a golf, tennis or baseball swing.
Our Multi-Burst mode shoots a sequence
of 16 rapid-fire frames, each of which has
320 x 240 resolution. The 16 frames become
part of a single 1280 x 960 image that
plays back sequentially in the camera.
Selectable frame intervals include 1/7.5,
1/15 and 1/30 second for convenient
motion analysis.
CAMERA CONTROL
Flash
Step Three: In just a fraction of a second,
the camera adjusts flash exposure precisely!
It’s easy. And it’s automatic.
• Daylight Fill Flash ( ) is ideal for
putting light on the faces of your
subjects in strong backlight situations.
Most digital cameras include a built-in
flash. Under most circumstances, when
Face Detection
Flexible flash modes
Red-eye reduction
the camera detects that there’s not enough
Taking advantage of the BIONZ integrated
circuit, Sony cameras accurately recognize
– and apply appropriate flash to – the
human face.
Sony flash modes get the best out of your
specific shooting situation.
Controls the ghoulish red in people’s eyes
that often appears in flash photography.
Flash is a great addition to your photography
when you want it, but there are times when
you don’t. Sony enables you to control the
flash to your best advantage.
Red-eye is the creepy effect that occurs
when the camera’s flash bounces off the
retinas of your subjects’ eyes. Red-eye
reduction tackles the problem by shining
a pre-flash, which enables your subjects’
eyes to adjust before the main flash fires.
light for an adequate exposure, the flash
will trigger.
This system generally works well, but it
does have some limitations.
• Metering/exposure issues. With
flash as an added variable, it can
be difficult for the camera to get an
accurate exposure.
• Control. There are times and
circumstances when you want
flash. And times when you don’t.
Control is crucial.
Multi-Burst mode is perfect for analyzing your golf swing.
(Sample photos for illustration purposes.)
Sony flash
features
• Red-eye. Whether you’re shooting
pets or people, flash tends to reflect
off the retinas of your subjects’ eyes,
resulting in the eerie look of red-eye.
Fortunately, well-designed cameras address
these issues.
™
Even a simple snapshot can
trip up the flash system of a
conventional camera. For example,
faces can easily become bleached out
because the flash was too strong. Sony’s
BIONZ™ processor solves this problem with
Face Detection. As you shoot, the Face
Detection function actually analyzes the data
that make up your digital picture. In this
way, Face Detection can identify and track
up to eight faces at a time. Then the camera
automatically adjusts for optimum focus,
exposure, flash and even white balance
on the faces themselves. The result is far
more “good” pictures, far fewer rejects
and re-takes.
For the complete story on Face Detection
and the BIONZ processor, please turn to
page 26.
• Auto Flash mode (no indicator)
automatically provides flash when
there’s not enough light for an
adequate exposure.
Red-eye Reduction filter
Correction for red-eye even after you’ve
taken the shot, thanks to the BIONZ™
processor.
• Forced Flash mode ( ) triggers the
flash when you want the extra light.
• No Flash mode ( ) is great for
twilight photography of distant subjects
or candle-lit photographs.
Sony’s pre-flash system can minimize
red-eye. But if you forget to use this
feature, you can still correct pictures even
after you’ve shot them. Sony’s powerful
BIONZ™ processor is smart enough to
analyze the data in your picture, identify
red-eye and suppress it.
• Slow-Sync Flash (
) is perfect for
capturing people in the foreground,
while it provides a longer exposure to
capture a night-time background.
Step One: The Sony system fires a
momentary pre-flash onto your subject.
Sony solves the common problem of excessive flash with Face Detection technology. (Sample photos for illustration purposes.)
42
Step Two: The system instantly reads the
resulting light through the camera’s lens,
and off the camera’s CCD image sensor.
Red-eye Reduction filter suppresses the ghoulish red
even after you’ve taken the shot. (Sample photos for
illustration purposes.)
Coordinates flash and motion for trailing
effects.
Unlike other digital cameras, which only
“guess” at flash exposures, Sony actually
measures the flash output and adjusts
accordingly.
When it comes to flash photography, most
auto exposure systems are flying “blind.”
They can only guess at flash levels because
they can’t measure the scene as it is lit by
the flash. Sony demanded a better way, called
Through-the-Lens Pre-Flash Metering.
Normal flash photography (left) would miss the
background. Slow-Sync Flash (right) combines flash
for the girls along with long shutter speed for the
background, to capture both in one shot. (Sample
photos for illustration purposes.)
First or Rear Curtain flash
TTL PRE-FLASH
METERING
TTL Pre-Flash Metering
Burst mode gives you a rapid sequence of shots to capture
fast action. (Sample photos for illustration purposes.)
In this bright, backlit scene, the flash would normally
not fire (left). Daylight Fill Flash automatically fires
for the correct exposure (right). (Sample photos for
illustration purposes.)
1. Pre-flash
2.Metering off the CCD,
through the lens
3.Accurate flash
exposure
Unlike the many cameras that can only guess at flash metering, Sony delivers better flash exposure with Through-the-Lens
Pre-Flash Metering. (1) Pre-Flash. (2) Metering off the CCD, through the lens. (3) Accurate flash exposure, adjusted
according to the metering!
SUBJECT IS
CLOSE
SUBJECT IS
FAR
FIxed flash:
over
exposure
Adjusted flash:
correct
exposure
Fixed flash:
under
exposure
Adjusted flash:
correct
exposure
Conventional flash metering tends to overexpose near subjects and underexpose far subjects. Through-the-Lens Pre-Flash
Metering helps deliver correct exposure for all subjects!
While low-light exposures require large
fractions of a second, flash firing is very
short – almost instantaneous. To make the
most of this difference, the DSC-H7, H9
and the a100 Digital SLR offer a choice in
how you coordinate flash with the shutter
mechanism.
First Curtain flash fires at the beginning of
the exposure, and is typically used for
subjects that are standing still. Rear Curtain
Flash fires at the end of the exposure,
and is typically used for subjects that are
in motion. Rear Curtain flash gives the
brightest exposure to the subject at
the end of the exposure, with a streaked,
darker image trailing behind.
43
Sharing your pictures
When your pictures take the form of exposed
film, you need to wait for processing before
you can share them with anyone. When
your pictures take the form of digital files,
you can start sharing immediately. There’s no
need to run to the drug store. No processing
time to wait. And nothing to mail in.
The electronic photo album
With digital pictures, as long as you’ve got
your camera, you’ve got a photo album.
• The camera as photo album.
Digital cameras, especially those
with large screens, are well suited
to showing off your pictures.
• The television as photo album.
Connect your camera to your television
to show the whole gang where you
were and what you did on vacation.
• The PC as photo album.
You can connect your camera to a
compatible PC via USB cable. Then
you have a choice of copying your
pictures onto the PC or simply viewing
the pictures, using your camera as
an external PC drive.
• The CD-ROM as photo album.
You can easily copy onto CD-ROM
for long-term storage and sharing
with friends.
• The Internet as photo album.
Photo websites including our own
ImageStation.com enable you to
post pictures to your own personal
web page and invite selected friends
and family to view them.
Digital photo prints
Thanks to the amazing flexibility of digital
technology, there are more ways than ever
to generate beautiful, long-lasting prints.
44
• PC-free digital photo printing
Sony DPP-FP70 and DPP-FP90
PictureStation™ printers are optimized
for your photos, and need not be
connected to a PC. The PictBridge
print interface and USB connection
from the camera to the printer make
everything fast and easy.
• PC printing
It’s also easy to print photos from
your PC, using a compatible printer.
• Kiosk printing
Many convenience stores, drug
stores, and business service stores
offer digital print kiosks, including our
own PictureStation kiosks. Kiosks
typically offer a touch-screen display
that makes it easy to select print
sizes, quantities and enhancements
like borders and captions.
• Internet printing
Here’s another benefit of photo websites
such as our ImageStation.com. You
can submit your pictures over the
Internet, and then order prints in a
complete range of sizes including
giant, 20 x 30-inch enlargements.
You can even order specialty items
such as greeting cards, calendars,
mugs and mouse pads imprinted
with your pictures!
Digital photos and computer
applications
The JPEG images produced by Sony digital
cameras are not just pictures. They’re also
computer files, compatible with an incredible
range of computer applications.
• E-mail
Why bother going out to get a print,
putting it in an envelope and sending
it via first class mail? You can e-mail
pictures in seconds, either as “file
attachments” or in the body of the
email message itself!
• Presentations and websites
Even in the digital age, a picture is
still worth the proverbial 1,000 words.
For business or pleasure, it’s easy
to liven up your documents and web
pages with the pictures you’ve taken.
• Desktop publishing
Graphic design software is set up to
import your pictures and show them
off to good effect.
Sony features
for sharing
Full HD 1080 still image viewing
Your HDTV just got another great new
high definition source: selected Sony
Cyber-shot® cameras.
Sony is the expert in all
things HDTV, and our BRAVIA™
televisions are the market
leaders. So it’s no coincidence that you can
now connect a Cyber-shot® camera to your
HDTV and enjoy your pictures with over four
times the detail of conventional, standard
definition TV. Full HD 1080 still image
viewing is a great way to share your still
pictures – and a stunning way to show
off the performance of your HDTV. (HDTV
and HD connecting cables sold separately.)
Some cameras go even further, enabling
you to set up an HD Slide Show with music.
There are three ways to connect to an
optional HDTV and enjoy the Full HD
1080 performance:
• Connect via the optional VMC-MHC1
cable, which goes right to the Y/Pb/Pr
component video inputs of an HDTV.
• Dock your camera in an optional
CSS-HD1 Cyber-shot Station™ cradle
that stays connected to your HDTV.
• Enjoy simultaneous slide shows and
printing with the DSC-W80HDPR
bundle. This includes the DSC-W80
camera, DPP-FPHD1 PictureStation®
printer and a Cyber-shot Station cradle.
Option 1:
Connect
HD Component
Cable
Result:
HD Photo Sharing
Option 2:
Connect
and charge
HD Cradle
Solution
Option 3:
Connect,
charge
and print
HD Camera/
Printer Bundle
Solution
Enjoy High Definition using the optional VMC-MHC1 cable, optional CSS-HD1 Cyber-shot® Station cradle or the DSC-W80HDPR bundle connected to your HDTV (sold separately).
(Sample photos for illustration purposes.)
Slide Show
Album feature
Sony Cyber-shot® cameras actually put
your pictures to music.
The DSC-N2 and G1 aren’t just cameras;
they’re also portable photo albums.
Most Cyber-shot models are more than just
cameras. They’re also portable slide shows.
Not only can you use the giant LCD monitor
screen to show off your pictures, but the
cameras will advance automatically through
your pictures at selectable transition speeds.
And you can even run the show to your
choice of background music!
Every time the DSC-N2 and G1 take a
picture, they save it into memory for keeps!
There’s room for up to 500 VGA-sized
images (DSC-N2) or 7500 full-sized images
(DSC-G1). So you can have all your favorite
photos with you wherever you go! Someone
hasn’t seen your kids in years? New
construction in your back yard? European
vacation? With the Album feature, you
don’t just talk about it. You can show it!
Of course, you can also run the Slide Show
on your television. And models with Full HD
1080 still image viewing can even run a
high definition Slide Show that will look
amazing – especially when you connect
your Sony camera to a Sony BRAVIA™ HDTV!
2 Gigabytes of
on-board storage
The DSC-G1 stores and organizes up to
7500 full resolution pictures.
With 2 gigabytes on-board (1.86 GB net
available for storage), the DSC-G1 has
convenient ways to organize your pictures.
The camera automatically groups pictures
by shooting occasions. And the supplied PC
software helps make the on-board storage
even easier to manage.
45
Sharing your pictures
Sony PictureStation™
photo kiosks
where in the world is that beach, that golf
course or that mountain lake.
Our presence in retail stores.
Data Converter SR software
Convert and enhance RAW images from
the a100 Digital SLR.
With the DSC-G1 camera, you can share pictures wirelessly with other G1 cameras and DLNA-compliant TVs and PCs.
Wireless photo sharing
The DSC-G1 can share pictures without
a cable in sight.
Thanks to built-in wireless networking, the
DSC-G1 camera can share pictures instantly.
At the push of a button, you can send pictures
to up to four other DSC-G1 cameras at a
time. You can also share pictures with a new
generation of DLNA-compliant televisions
and personal computers.
Imagine coming home from vacation and
being able to browse your photos by location,
right on a world map! Picture Motion Browser
software, working with Internet mapping
services such as maps.google.com, compares
the creation times of your pictures with the
tracking data on the GPS-CS1KA. The result?
You can browse your pictures by location.
So you’ll always be able to remember exactly
Our most powerful RAW application yet,
Image Data Converter SR software enables
you to tease out the latent beauty of your
RAW images. Supplied with the a100 Digital
SLR, this software offers a large palette of
adjustments for white balance, exposure,
sharpness, hue, saturation, contrast and
gamma. Convenient before/after windows
give you an easy way to compare and judge
your changes. And you can make your
changes, confident that our non-destructive
editing maintains your original image in
pristine condition.
• Zoom & crop. Cut out the wasted
areas and focus on your area
of interest.
Sony Picture Motion Browser
software
Don’t just upload your pictures, organize
them by time and place!
• Retouch. Correct flaws and
enhance reality.
• Sharpen. You can also sharpen or
blur specific areas of the picture.
• Color balance. Especially with RAW
images, you are free to adjust the color
temperature long after the picture
was taken!
The Sony RAW conversion software also
delivers multiple levels of un-do and re-do,
fast conversion of the large, multi-megabyte
files, and superb file compatibility with
Adobe® Photoshop® software. The software
also processes RAW format pictures from
our earlier DSC-F828, V3 and R1 Cyber-shot®
digital cameras.
Using the optional GPS-CS1KA GPS image tracker, Sony Picture Motion Browser software and an Internet mapping
service such as maps.google.com, you can automatically locate your shots on a map of the world. (Sample photo for
illustration purposes.)
PC-free printing is easy when you connect a PictBridge™
compatible Sony camera to any printer that’s compatible
with the industry-standard PictBridge™ interface.
DPOF printing
Lets you select images to print in the
camera, prior to inserting the media into
a printer.
If you’re taking your Memory Stick media
out of the camera and bringing it to a photo
printer or retail store print kiosk, you may
prefer to select your images for printing first.
That’s exactly what the Digital Print Order
Format – DPOF – enables you to do. Then
simply put the media into a compatible
printer and your selected pictures will
print automatically!
The Sony ImageStation.com
website
PictBridge™ compatibility
Our comprehensive on-line photo resource.
Print without a computer – just connect
the camera directly to the printer!
As a leader in digital
photography, Sony
wanted to make it easy to upload your digital
pictures and share them with everyone. That’s
why we established ImageStation.com, the
comprehensive photo website. Here you
can post your pictures to share them with
friends and family. You can participate in a
community of like-minded digital enthusiasts.
And you can order prints, enlargements and
photo specialty items such as greeting cards,
calendars, mugs and mouse pads. (For
prices, membership conditions and other
information, please visit ImageStation.com.)
PictBridge™ is an industry standard that
enables the camera to control a printer for
photo prints without a computer. You first
connect the digital camera to a PictBridge
compatible printer via USB. Then you can
select shots on the camera’s LCD monitor
and use the camera’s controls to initiate
printing. What once required a PC is now
simplified with a direct connection from
camera to a PictBridge compatible printer!
To get the full benefit of digital photography,
you’ll want to upload your pictures to your
PC. But you don’t need to settle for the same
old PC windows and icons. Sony’s Picture
Motion Browser software, supplied with
Cyber-shot cameras, enables you to browse
your pictures in a convenient calendar
view. And when you take an optional Sony
GPS-CS1KA GPS image tracker along on
your photo shoots, you can track exactly
where you took each shot!
46
Representative view of the Sony Image Data Converter
SR software. (Sample photo for illustration purposes.)
Positioned with selected retailers, Sony
PictureStation kiosks deliver digital photo
prints while you wait. Just plug in your
digital media, swipe your credit card and
follow the on-screen directions. We’ll step
you through the process of selecting photos
to print, selecting print sizes and quantities,
cropping, enhancing and printing. In the end,
you’ll get Print by Sony™ dye sublimation
picture quality. Having exactly the prints
you want is a great feeling. And Sony
PictureStation kiosks make it happen.
PictureStation™ home digital
photo printers
The Sony DPP-FP70 and DPP-FP90 are the
compact, easy, fast solution to digital
photo prints at home.
The typical color inkjet printer attached to
the typical home computer is fine for many
tasks. But high-resolution digital photo
printing isn’t likely to be one of them. In
terms of color, resolution, durability and
archival life, you’re far better off with a
dedicated printer optimized for the single
task of photo prints! And with a dedicated
printer, you can print even without a PC!
That’s the concept behind Sony’s home
digital photo printers.
TruFast™ printing speed
Get a 4 x 6-inch print in about 45 seconds!
Our high-sensitivity print paper makes for
faster output than with conventional dye
sublimation printers. The DPP-FP70 and
DPP-FP90 print in about 45 seconds
from a Sony camera – and that includes
processing time! Printing from a PC takes
just a few seconds more.
47
Sharing your pictures
INKJET PRINTER
in 256 shades of each! Do the math and
256 x 256 x 256 equals 16,777,216
distinct colors for each pixel. Inkjet printers
just can’t come close.
1 color ink dot =
“1 dot”
Because inkjet printers can’t match this range
of colors, they need to approximate the correct
color by printing a cluster or neighborhood
of much smaller dots. Inkjet printer dots do
not create a continuous tone. And the smaller
dots create challenges for the transfer
head and paper media. Because the Sony
DPP-FP70 and DPP-FP90 dye sublimation
printers generate a true, continuous tone,
they do not incur these issues.
Thanks to the BIONZ™ processor, Sony’s Auto Touch-Up function analyzes, detects and corrects image faults at the press of a single button. (Sample photos for illustration purposes.)
PC-free printing
No need to connect a PC, no need to
boot up.
While just booting up the PC can be time
consuming, PC-free printing is quick. Sony
digital photo printers are always ready to go
right away. You can connect the camera via
USB. Or you can slide the Memory Stick®
media out of a Cyber-shot® camera and
into the DPP-FP70 or FP90 printer.
Auto Touch-Up™ function
Don’t just print your pictures, improve them
with the power of Sony’s BIONZ™ processor.
The DPP-FP70 and DPP-FP90 both
incorporate the same BIONZ ™ image
processor that made its debut in Sony’s
a100 Digital SLR. The processor has the
uncanny ability to analyze picture data,
spot photographic issues and correct
them automatically. At the press of a
single button, Sony’s Auto Touch-Up ™
function actually improves the picture,
correcting red-eye, exposure and focus.
Optimized printing with
Sony cameras
Media card flexibility
Accepts a variety of media card types.
Print adjustments based on photo
exposure mode.
In digital photography, each picture is a file
that can include “Exif tag” information about
the camera, date, time, shutter speed, lens,
shooting mode and more. When the
DPP-FP70 and DPP-FP90 see image files
from current Sony cameras, the printers
actually read the Exif tags and set print
parameters according to the original exposure
mode. So a picture shot in Twilight Portrait
mode will be printed differently from one
shot in Sports mode.
Built-in LCD monitor
For in-printer editing and creative printing
options.
The DPP-FP70 features a built in 2.5-inch
LCD monitor (viewable area measured
diagonally), while the DPP-FP90 features
an even bigger 3.6-inch monitor (viewable
area measured diagonally).
Thousands of times more color possibilities
for each individual dot, when compared
to inkjet printers.
A 4-color inkjet printer can reproduce any
individual dot in 24 or 16 distinct colors.
A 7-color inkjet printer can reproduce 27
(128) distinct colors per dot. In dramatic
contrast, Sony DPP-FP70 and DPP-FP90
dye sublimation printers can print three
dye colors – cyan, magenta and yellow –
While inkjet printers might be able to muster as few as
16 distinct colors per dot, Sony dye sublimation printers
can reproduce 16,777,216 colors per dot. That’s a much
bigger box of crayons!
48
1"
To equal the color resolution of a Sony dye
sublimation printer, inkjet printers require
far, far smaller dots. So comparing dye
sublimation dpi to inkjet dpi is not like
comparing apples to oranges. It’s more
like comparing apples to thumbtacks.
The DPP-FP70 and DPP-FP90 both accept
Memory Stick PRO™ media, Memory Stick
PRO Duo™ media, Secure Digital™, SDHC™,
MiniSD™, MultiMediaCard™, CompactFlash™
or MicroDrive™ cards.
Dye sublimation with
16.7 million colors
300 x 300 pixels
1 pixel of
image data =
“1 dot”
DYE SUBLIMATION PRINTER
It takes a neighborhood of many inkjet printer “dots” (top) to equal a single dot from a Sony dye sublimation printer!
Clearly, not all dots are created equal.
SILVER HALIDE
PHOTO
DYE SUBLIMATION
PRINTING
YELLOW
CIE LAB COLOR SPACE
BRILLIANT COLOR
Conventional photo printing (left) can’t match the range
of colors of Sony dye sublimation (right). (Sample photos
for illustration purposes.)
+b*
100
80
RED
60
40
Color gamut
GREEN
-a* -100 -80 -60
A wider range of colors, particularly
reds and yellows, than conventional
photochemical prints.
20
-40 -20
0
40
60
80 100 +a*
MAGENTA
-40
-60
CYAN
-80
-100
-b*
If you think of silver halide chemical
processing as the gold standard in photo
prints, you may need to reconsider. The
Sony DPP-FP70 and DPP-FP90 dye
sublimation printers actually have a
superior range or “gamut” of colors,
especially in the reds and yellows. This
means you’ll see vivid, natural colors that
conventional photo prints are quite simply
unable to duplicate!
20
-20
the paper through the printer multiple
times (once for each of three primary
colors). Sony used this as an opportunity
for a fourth pass – fusing a protective
laminate that we call the SuperCoat2™
finish. This incredibly durable coating
protects the surface of each print from
fingerprints, splashes of liquid and fading.
So your prints remain fresh and beautiful
year after year.
BLUE
SONY DYE SUBLIMATION PRINTER
SILVER HALIDE PHOTO INKJET PRINTER
The CIE l*a*b* color chart demonstrates the superiority
of Sony dye sublimation printing.
The durability of the Sony
SuperCoat2™ treatment
Stands up to fingerprints, liquid spills
and the ravages of time.
Our DPP-FP70 and DPP-FP90 dye
sublimation printers work by drawing
The Sony SuperCoat2 treatment protects your precious
memories from stains, spills and the ravages of time.
(Sample photo for illustration purposes.)
49
Sony Product Guide
DSC-S650 & DSC-S700 CYBER-SHOT ® DIGITAL CAMERAS
DSC-T20 CYBER-SHOT ® DIGITAL CAMERA
• 7.2 megapixels
• 8.1 megapixels
• 3x optical zoom
• 3x optical zoom
• Alkaline/NiMH batteries
• Li-Ion rechargeable battery
• 7.2 Megapixel Super HAD™ CCD with exclusive Sony
technology for superb resolution, sensitivity and clarity.
• High sensitivity ISO 1000; great in low light when flash
would spoil the mood.
• Extra-large, 2" (DSC-S650) or 2.4" (DSC-S700) LCD
monitor (viewable area measured diagonally) makes
framing and sharing pictures easy.
• Extended battery stamina: up to 460 shots with optional
NiMH rechargeables (up to 100 shots with supplied
one-use alkalines).*
• Sony 3x optical zoom lens for sharp pictures in a
compact design.
• 24 MB internal memory; shoot without a flash memory card.
®
• Slot for optional Memory Stick Duo™ media and Memory
Stick PRO Duo™ media to save more pictures, copy them
for friends.
• 3x optical zoom
DSC-W55 also available in:
• Full HD 1080 output using optional accessory adaptor cable.
• Natural, flash-free photography in low light with high
sensitivity (ISO 3200) and Clear RAW™ noise reduction.
• 8.1 Megapixel Super HAD™ CCD with exclusive Sony
technology for superb resolution, sensitivity and clarity.
• Large 2.5" LCD monitor (viewable area measured
diagonally) with 230K pixels makes framing and
reviewing pictures easy.
DSC-T100 also available in:
• 8.1 megapixels
DSC-W80 also available in:
• 5x optical zoom
Black
Pink
Blue
Black
Pink
White
• Ideal form factor with rangefinder-type, eye-level optical
viewfinder for traditional shooting style.
• Face Detection identifies your subjects for precise focus,
exposure, white balance and flash (DSC-W80 only).
• 7.2 Megapixel Super HAD™ CCD with exclusive Sony
technology for superb resolution, sensitivity and clarity.
• Super SteadyShot® optical image stabilization fights
blur caused by camera shake, even in low light
(DSC-W80 only).
• Carl Zeiss® Vario-Tessar® 3x optical zoom lens combines
exceptional picture quality and ultra-sleek design.
• Extra-large 2.5" LCD monitor (viewable area measured
diagonally) with 115K pixels makes framing and sharing
pictures easy.
• Carl Zeiss® Vario-Tessar® 5x optical zoom lens combines
exceptional picture quality with unique internal design so
it never extends from the camera body.
Red
• Barely the size of a deck of cards and thin; sleek lens
door doubles as on/off switch.
• Natural, flash-free photography in low light with high
sensitivity (ISO 3200) and Clear RAW™ noise reduction.
• Face Detection identifies your subjects for precise focus,
exposure, white balance and flash.
• Super SteadyShot® optical image stabilization fights blur
caused by camera shake, even in low light.
DSC-N2 CYBER-SHOT ® DIGITAL CAMERA
• 10.1 megapixels
• 3x optical zoom
• 3x optical zoom
• Li-Ion rechargeable battery
Black
• Li-Ion rechargeable battery
• Full HD 1080 output using optional accessory adaptor cable.
• Large 3.0" LCD monitor (viewable area measured
diagonally) with 230K pixels makes framing and
reviewing pictures easy.
• Full HD 1080 output using optional accessory adaptor cable.
DSC-W90 also available in:
• 8.1/12.1 megapixels
Black
• Li-Ion rechargeable battery
DSC-W90 & DSC-W200 CYBER-SHOT ® DIGITAL CAMERAS
• 8.1 Megapixel (DSC-W90) or 12.1 Megapixel (DSC-W200)
Super HAD™ CCD with exclusive Sony technology for
superb resolution, sensitivity and clarity.
• Carl Zeiss Vario-Tessar 3x optical zoom lens combines
exceptional picture quality and ultra-sleek design.
®
®
• Ideal form factor with rangefinder-type, eye-level optical
viewfinder for traditional shooting style.
50
White
DSC-T100 CYBER-SHOT ® DIGITAL CAMERA
• Full HD 1080 output using optional accessory adaptor
cable (DSC-W80 only).
• Super SteadyShot® optical image stabilization fights blur
caused by camera shake, even in low light.
Pink
• Super SteadyShot® optical image stabilization fights blur
caused by camera shake, even in low light.
* Actual battery life may vary upon usage patterns, product settings, battery
and environmental conditions.
• Li-Ion rechargeable battery
• Face Detection identifies your subjects for precise focus,
exposure, white balance and flash.
Black
• Barely the size of a deck of cards and thin; sleek lens
door doubles as on/off switch.
• Face Detection identifies your subjects for precise focus,
exposure, white balance and flash.
DSC-W55 & DSC-W80 CYBER-SHOT ® DIGITAL CAMERAS
• 7.2 megapixels
DSC-T20 also available in:
• Extra-large, high-resolution 2.5" LCD monitor (viewable
area measured diagonally) makes framing and reviewing
pictures easy.
• 10.1 Megapixel Super HAD™ CCD with exclusive Sony
technology for superb resolution, sensitivity and clarity.
• Slide Show function with your choice of transition effects.
The DSC-N2 even plays your own background music.
• Sleek, stylish design with enormous 3.0" LCD monitor
(viewable area measured diagonally) that makes it easy
to read menus, share images with friends.
• Easy, elegant touch-screen access to your Pocket Album
pictures; simple search by date and time.
• Pocket Album function with on-board storage for up to 500
images (VGA size); each picture you take automatically
goes into the album!
• Clear Photo LCD Plus™ monitor for higher resolution,
contrast and brightness, 40% better color than our
previous LCDs.
• 25 MB internal memory for full-resolution pictures; shoot
without a flash memory card.
51
Sony Product Guide
DSC-G1 CYBER-SHOT ® DIGITAL CAMERA
a 100 DIGITAL SLR
• 6.0 megapixels
• 10.2 megapixels
• 3x optical zoom
• Interchangeable lenses
®
• InfoLITHIUM rechargeable battery
• 2 GB* internal memory saves up to 600 full-resolution
pictures or up to 7,500 VGA-quality pictures!
• World’s biggest, highest-resolution digital camera monitor
(as of June 15, 2007) 3.5" LCD (viewable area measured
diagonally) with 921K pixels.
• Wireless photo sharing from camera to camera; also
transmits photos wirelessly to DLNA-compatible TVs
and computers.
• Li-Ion rechargeable battery
The world’s biggest digital camera monitor (as
of June 15, 2007). Monitor picture simulated.
• Album with Auto Image Management; each picture you
take automatically goes into the album!
• Easy access to your Album pictures; simple search by
date, time, event and theme.
• Slide Show function with your choice of transition effects.
The DSC-G1 even plays your own background music.
• Super SteadyShot® image stabilization actually moves the
CCD to compensate for camera shake; will not compromise
picture quality; works with all system lenses.
• 10.2 Megapixel CCD enables larger enlargements and
high-resolution images after cropping.
• 6.0 Megapixel Super HAD™ CCD with exclusive Sony
technology for superb resolution, sensitivity and clarity.
* A portion of the memory is used for data management functions. Actual
available memory is 1.86 GB.
• Comprehensive Anti-Dust system includes dust-resistant
Indium Tin Oxide CCD coating and a CCD “shake” routine.
Compatible with 16 million Maxxum® lenses.
• Supplied Lithium Ion battery with up to 750 shot stamina.*
DSLR-A100K standard kit includes SAL-1870 18-70mm
f3.5 zoom lens (27-105mm, 35mm equivalent).
• Accepts 16 million Konica-Minolta Maxxum bayonet
mount lenses dating from as far back as 1985.
®
• High sensitivity and low noise with ISO 1600 lets you
increase shutter speed to lower camera shake further still.
• Sony Super HAD™ CCD enables more light to pass through
for higher sensitivity, lower noise.
* Actual battery life may vary upon usage patterns, product settings, battery
and environmental conditions.
DSC-H7 CYBER-SHOT ® DIGITAL CAMERA
DPP-FP70 & DPP-FP90 PICTURE STATION ™ DIGITAL PHOTO PRINTERS
• 8.1 megapixels
• 16 million colors
• 15x optical zoom
• 4" x 6" print size
• Li-Ion rechargeable battery
• Photo quality processor
• 15x optical zoom lens pulls in far closer to distant
subjects or pulls back for the wide shot.
• Super SteadyShot® optical image stabilization fights motion
blur, even during longer exposures at full zoom.
• High sensitivity (ISO 3200) and Clear RAW™ noise
reduction; great in low light when flash would spoil
the mood.
• Ideal form factor with eye-level through-the-lens electronic
viewfinder for traditional shooting style.
• Advanced Sports Shooting mode with intelligent continuous
Auto Focus, 1/4000 second shutter speed.
• Auto Touch-Up™ function actually improves the picture,
correcting red-eye*, exposure and focus at the touch
of a button.
• Sony BIONZ™ processor analyzes, detects and corrects
image faults.
• Full HD 1080 output using optional accessory adaptor cable.
• Face Detection identifies your subjects for precise focus,
exposure, white balance and flash.
• Print optimization with Sony Cyber-shot® cameras and
DSLR-A100 camera.
• TruFast™ printing creates a 4" x 6" image in about 45
seconds from a Sony camera, including processing time.
• Built-in 3.6" (DPP-FP90) or 2.5" (DPP-FP70) LCD monitor
(viewable area measured diagonally) for in-printer editing,
creative printing options.
DSC-H9 CYBER-SHOT ® DIGITAL CAMERA
• Versatile printing directly from a camera’s Memory Stick
PRO™ media, Memory Stick PRO Duo™ media, Secure
Digital™, SDHC™, MiniSD™, MultiMediaCard™,
CompactFlash™ or Microdrive™ cards.
• 8.1 megapixels
• 15x optical zoom
• Li-Ion rechargeable battery
• Flip-up 3.0" LCD monitor (viewable area measured
diagonally) with 230K pixels makes framing and
reviewing pictures easy.
• 15x optical zoom lens pulls in far closer to distant
subjects or pulls back for the wide shot.
• Super SteadyShot® optical image stabilization fights motion
blur, even during longer exposures at full zoom.
52
• Clear Photo LCD Plus™ monitor for better contrast, brightness
and color than our previous LCDs (DPP-FP90 only).
Monitor picture simulated.
• Full HD 1080 output using optional accessory adaptor cable.
* Auto red-eye correction uses technology from USA FotoNation Inc.
• NightShot® function uses infrared technology to take
pictures even when there is no visible light!
• High sensitivity (ISO 3200) and Clear RAW™ noise
reduction; great in low light when flash would spoil
the mood.
• Face Detection identifies your subjects for precise focus,
exposure, white balance and flash.
53
Digital Still Camera Specifications
DSC-T100
DSC-N2
DSC-G1
DSC-H7
DSC-H9
a100
Sony Image Sensor
1/2.5" CCD
1/1.7" CCD
1/2.5" CCD
1/2.5" CCD
1/2.5" CCD
23.6 x 15.8 mm CCD
Megapixel
8.1 MP
10.1 MP
6.0 MP
8.1 MP
8.1 MP
10.2 MP
Carl Zeiss® / 3X
Lens / Optical Zoom
Carl Zeiss® / 5X
Carl Zeiss® / 3X
Carl Zeiss® / 3X
Carl Zeiss® / 15X
Carl Zeiss® / 15X
Sony / 3.9X†
f2.8-5.2
f3.5-4.3
Aperture
f3.5-4.3
f2.8-5.4
f3.5-4.3
f2.7-4.5
f2.7-4.5
f3.5-5.6†
5.8-17.4mm
7.6-22.5mm
6.3-19mm
Focal Length
5.8-29mm
7.9-23.7mm
6.3-19mm
5.2-78mm
5.2-78mm
18-70mm†
35-105mm
35-105mm
35-105mm
38-114mm
35mm Equivalency
35-175mm
38-114mm
38-114mm
31-465mm
31-465mm
27-105mm†
0-14X (VGA)
0-15.3X (VGA)
0-18X (VGA)
0-15X (VGA)
Smart Zoom® Function
0-25X (VGA)
0-17X (VGA)
N/A
0-76X (VGA)
0-76X (VGA)
N/A
2X (6X Ttl)
2X (6X Ttl)
2X (6X Ttl)
2X (6X Ttl)
2X (6X Ttl)
Precision Digital Zoom
2X (10X Ttl)
2X (6X Ttl)
2X (6X Ttl)
2X (30X Ttl)
2X (30X Ttl)
N/A
N/A
Auto, 5 Area, Center AF
Auto, 9 Area, Center AF,
Spot AF
Auto, 9 Area, Center AF,
Spot AF
Auto, 9 Area, Center AF,
Spot AF
Auto, 9 Area, Center AF,
Spot AF
Multi-Point AF
Auto, 9 Area, Center AF,
Spot AF
Auto/Manual, 5 Area,
Flexible Spot AF
Auto, 9 Area, Center AF,
Spot AF
Auto, 9 Area, Center AF,
Flexible Spot AF
Auto, 9 Area, Center AF,
Flexible Spot AF
Auto/Manual, 9 Area
N/A
N/A
Yes
Yes
Yes
Yes
Yes
AF Illuminator Light
Yes
Yes
Yes
Yes
Yes
Yes
N/A
N/A
N/A
N/A
N/A
N/A
N/A
NightShot® System
N/A
N/A
N/A
N/A
Yes
N/A
N/A
N/A
Yes, 5-step
Yes, 5-step
Yes, 5-step
Yes, 5-step
Yes, 5-step
Manual Focus
Yes, 5-step
Yes, 5-step
Yes, 5-step
Yes, Continuously Variable Yes, Continuously Variable Yes, Continuous Ring
White Balance
5 Preset
5 Preset
5 Preset
7 Preset
7 Preset
7 Preset
7 Preset
White Balance
7 Preset
5 Preset
5 Preset
8 Preset, Manual
8 Preset, Manual
6 Preset, Manual
Aperture Range
f2.8-9.7
f2.8-9.7
f2.8-13
f2.8-14.8
f2.8-14.8
f2.8-8
f3.5-10
Aperture Range
f3.5-10
f2.8-16
f3.5-7.1
f2.7-8
f2.7-8
Depends on lens
Shutter Speed Range
Auto, 1/8-1/2000
Auto, 1/8-1/2000
Auto, 1/8-1/2000
Auto, 1/4-1/1600
Auto, 1/4-1/1600
Auto, 1/4-1/1600
Auto, 1/4-1/1000
Shutter Speed Range
Auto, 1/4-1/1000
Auto, 1/8-1/2000
1/4-1/1000
30-1/4000
30-1/4000
30-1/4000, Bulb
Manual Exposure
N/A
N/A
N/A
N/A
N/A
Adj. Shutter/Ap
N/A
Manual Exposure
N/A
N/A
N/A
Shutter/Ap Priority, Manual Shutter/Ap Priority, Manual Shutter/Ap Priority, Manual
Scene Modes
7 mode
7 mode
7 mode
7 mode
7 mode
9 mode
9 mode
Scene Modes
9 mode
8 mode
10 mode
9 mode
9 mode
6 mode
Flash Effective Range
1'8"-20'8" (0.5-6.3 m)
ISO 1000
1'8"-20'8" (0.5-6.3 m)
ISO 1000
8"-23' (0.2-7.0 m)
ISO 1000
8"-21'8" (0.2-6.6 m)
ISO 3200
8"-21'8" (0.2-6.6 m)
ISO 3200
8"-21'8" (0.2-6.6 m)
ISO 3200
4"-20' (0.1-6.1 m)
ISO 3200
Flash Effective Range
4"-25'3" (0.1-7.7 m)
ISO 3200
8"-30'10" (0.2-9.4 m)
ISO 1600
4"-16'1" (0.1-4.9 m)
ISO 1000
8"-65'7" (0.2-20 m)
ISO 3200
8"-65'7" (0.2-20 m)
ISO 3200
GN 12 (meters at
ISO 100)
BIONZ™ Processor
N/A
N/A
N/A
Yes
Yes
Yes
Yes
BIONZ™ Processor
Yes
N/A
N/A
Yes
Yes
Yes
Face Detection
N/A
N/A
N/A
Yes
Yes
Yes
Yes
Face Detection
Yes
N/A
N/A
Yes
Yes
N/A
Dynamic Range Optimizer
N/A
N/A
N/A
Yes
Yes
Yes
Yes
Dynamic Range Optimizer
Yes
N/A
N/A
Yes
Yes
Yes
In-Camera Retouching
N/A
N/A
N/A
Yes
Yes
Yes
Yes
In-Camera Retouching
Yes
N/A
N/A
Yes
Yes
N/A
Real Imaging Processor™ LSI
Yes
Yes
Yes
N/A
N/A
N/A
N/A
Real Imaging Processor™ LSI
N/A
Yes
Yes
N/A
N/A
N/A
DSC-S650
DSC-S700
DSC-W55
DSC-W80
DSC-W90
DSC-W200
DSC-T20
Sony Image Sensor
1/2.5" CCD
1/2.5" CCD
1/2.5" CCD
1/2.5" CCD
1/2.5" CCD
1/1.7" CCD
1/2.5" CCD
Megapixel
7.2 MP
7.2 MP
7.2 MP
7.2 MP
8.1 MP
12.1 MP
8.1 MP
Lens / Optical Zoom
Sony / 3X
Sony / 3X
Carl Zeiss® / 3X
Carl Zeiss® / 3X
Carl Zeiss® / 3X
Carl Zeiss® / 3X
Aperture
f2.8-4.8
f2.8-4.8
f2.8-5.2
f2.8-5.2
f2.8-5.2
Focal Length
5.8-17.4mm
5.8-17.4mm
6.3-18.9mm
5.8-17.4mm
35mm Equivalency
35-105mm
35-105mm
38-114mm
Smart Zoom® Function
0-14X (VGA)
0-14X (VGA)
0-14X (VGA)
Precision Digital Zoom
2X (6X Ttl)
2X (6X Ttl)
Multi-Point AF
N/A
AF Illuminator Light
NightShot® System
Manual Focus
Lens & Imager
Lens & Imager
Camera
Camera
Processor
Processor
Anti-Blur
Anti-Blur
High Sensitivity Mode
ISO 1000
ISO 1000
ISO 1000
ISO 3200
ISO 3200
ISO 3200
ISO 6400 @ 3 MP
ISO 3200
High Sensitivity Mode
ISO 3200
ISO 1600
ISO 1000
ISO 3200
ISO 3200
ISO 1600
Clear RAW™ Noise Reduction
N/A
N/A
Yes
Yes
Yes
Yes
Yes
Clear RAW™ Noise Reduction
Yes
Yes
Yes
Yes
Yes
N/A
Super SteadyShot® Image Stabilization
N/A
N/A
N/A
Yes
Yes
Yes
Yes
Super SteadyShot® Image Stabilization
Yes
N/A
Yes
Yes
Yes
Body integral
LCD/Viewfinder
LCD/Viewfinder
LCD*
2.0" 115K pixel
2.4" 112K pixel
2.5" 115K pixel
2.5" 115K pixel
2.5" 115K pixel
2.5" 115K pixel
2.5" 230K pixel
LCD*
3.0" 230K pixel
3.0" 230K pixel
3.5" 921K pixel
2.5" 115K pixel
Flip-Up 3.0" 230K pixel
2.5" 230K pixel
Eye-Level Finder
N/A
N/A
Optical, True Zoom
Optical, True Zoom
Optical, True Zoom
Optical, True Zoom
N/A
Eye-Level Finder
N/A
N/A
N/A
201K EVF LCD, TTL
201K EVF LCD, TTL
TTL Optical
Histogram Display
N/A
N/A
Yes
Yes
Yes
Yes
Yes
Histogram Display
Yes
Yes
N/A
Yes
Yes
Yes
Recording
Recording
Available Internal Memory
24 MB
24 MB
56 MB
31 MB
31 MB
31 MB
31 MB
Available Internal Memory
31 MB
25 MB
1.86 GB, net
31 MB
31 MB
N/A
Media Slot
MS Duo
MS Duo
MS Duo
MS Duo
MS Duo
MS Duo
MS Duo
Media Slot
MS Duo
MS Duo
MS Duo
MS Duo
MS Duo
MS Duo, CF I/II
Image Sizes
7, 5, 3, 2 MP, VGA,
3:2, 16:9
7, 5, 3, 2 MP, VGA,
3:2, 16:9
7, 5, 3, 2 MP, VGA,
3:2, 16:9
7, 5, 3 MP, VGA,
3:2, 16:9
8, 5, 3 MP, VGA,
3:2, 16:9
12, 8, 5, 3 MP, VGA,
3:2, 16:9
8, 5, 3 MP, VGA,
3:2, 16:9
Image Sizes
8, 5, 3 MP, VGA,
3:2, 16:9
10, 8, 5, 3, 2 MP, VGA,
3:2, 16:9
6, 3, 2 MP, VGA,
3:2, 16:9
8, 5, 3 MP, VGA,
3:2, 16:9
8, 5, 3 MP, VGA,
3:2, 16:9
10 MP
Burst Mode Frames / fps
3-shot / 0.7 fps (7 MP)
3-shot / 0.7 fps (7 MP)
4-shot / 1.1 fps (7 MP)
100-shot / 2.8 fps (7 MP) 100-shot / 2.2 fps (8 MP) 100-shot / 2.0 fps (12 MP) 100-shot / 2.2 fps (8 MP)
Burst Mode Frames / fps
100-shot / 2.2 fps (8 MP) 3-shot / 0.8 fps (10 MP) 7-shot / 3.3 fps (6 MP)
100-shot / 2.2 fps (8 MP) 100-shot / 2.2 fps (8 MP) Unlim. JPEGs / 3 fps (10 MP)
Auto Exposure Bracketing
N/A
N/A
N/A
Yes
Yes
Yes
Yes
Auto Exposure Bracketing
Yes
Yes
Yes
Yes
Yes
Yes
Color Modes
B&W, Sepia, Rich,
Natural
B&W, Sepia, Rich,
Natural
B&W, Sepia, Rich,
Natural
B&W, Sepia, Vivid,
Natural
B&W, Sepia, Vivid,
Natural
B&W, Sepia, Vivid,
Natural
B&W, Sepia, Vivid,
Natural
Color Modes
B&W, Sepia, Vivid,
Natural
B&W, Sepia, Vivid,
Natural
N/A
B&W, Sepia, Vivid,
Natural
B&W, Sepia, Vivid,
Natural
sRGB, Adobe® RGB
MPEG Movie Modes
AVI QVGA 30 fps
AVI QVGA 30 fps
VX Fin/Std, VM
VX Fin/Std, Present
VX Fin/Std, Present
VX Fin/Std, Present
VX Fin/Std, Present
MPEG Movie Modes
VX Fin/Std, Present
VX Fin/Std, VM
MPEG4
VX Fin/Std, Present
VX Fin/Std, Present
N/A
General
General
HD Output Capability**
N/A
N/A
N/A
Yes
Yes
Yes
Yes
HD Output Capability**
Yes
N/A
N/A
Yes
Yes
N/A
Connections***
AV/USB
AV/USB
AV/USB via multi-cable
AV/USB via multi-cable
AV/USB via multi-cable
AV/USB via multi-cable
AV/USB via multi-cable
Connections***
AV/USB via multi-cable
AV/USB/DC via
multi-cable
AV/USB/DC via
supplied cradle
AV/USB via multi-cable
AV/USB via multi-cable
Video/USB/Pwr
Battery Compatibility
2 AA Alkaline, NiMH
2 AA Alkaline, NiMH
Lithium Ion NP-BG1
Lithium Ion NP-BG1
Lithium Ion NP-BG1
Lithium Ion NP-BG1
Lithium Ion NP-BG1
Battery Compatibility
Lithium Ion NP-BG1
Lithium Ion NP-BG1
InfoLITHIUM® NP-FR1
Lithium Ion NP-BG1
Lithium Ion NP-BG1
Lithium Ion NP-FM55H
Yes
Yes
Yes
Yes
Yes
Yes
PictBridge™
Yes
Yes
Yes
Yes
Yes
Yes
Yes
PictBridge™
Album / Slide Show
N/A / Yes
N/A / Yes
N/A / Yes
N/A / Yes
N/A / Yes
N/A / Yes
N/A / Yes
Album / Slide Show
N/A / Yes
Yes / Yes
Yes / Yes
N/A / Yes
N/A / Yes
N/A / N/A
Dimensions
3-5/8 x 2-3/8 x 1-1/8"
(91 x 61 x 27 mm)
3-5/8 x 2-3/8 x 1"
(91 x 61 x 25 mm)
3-1/2 x 2-1/4 x 7/8"
(89 x 57 x 23 mm)
3-5/8 x 2-1/4 x 7/8"
(91 x 58 x 23 mm)
3-5/8 x 2-1/4 x 7/8"
(91 x 58 x 23 mm)
3-9/16 x 2-5/16 x 1-1/16" 3-1/2 x 2-1/4 x 7/8"
(90 x 56 x 23 mm)
(91 x 59 x 27 mm)
Dimensions
3-5/8 x 2-3/8 x 7/8"
(92 x 59 x 22 mm)
3-7/8 x 2-3/8 x 7/8"
(97 x 61 x 23 mm)
3-5/8 x 2-7/8 x 1"
(93 x 72 x 25 mm)
4-3/8 x 3-1/4 x 3-3/8"
(110 x 83 x 86 mm)
4-3/8 x 3-1/4 x 3-3/8"
(110 x 83 x 86 mm)
5-1/4 x 3-3/4 x 2-7/8"
(133 x 95 x 71 mm)
Weight (with battery & media)****
6.3 oz (178 g)
7.3 oz (198 g)
5.2 oz (147 g)
5.5 oz (155 g)
5.5 oz (155 g)
6.1 oz (173 g)
Weight (with battery & media)****
6.1 oz (172 g)
6.5 oz (185 g)
8.4 oz (238 g)
1 lb, 2.1 oz (514 g)
1 lb, 3.2 oz (546 g)
1 lb, 3 oz (545 g)
Compatibility
5.6 oz (159 g)
* Viewable area measured diagonally. ** Requires optional accessories, compatible HDTV. *** Not all products with USB connectors may communicate with each other due to chipset variations. **** Non-metric weights and measurements are approximate and may vary.
†
Standard kit lens: DT 18-70mm f3.5-5.6.
54
Compatibility
* Viewable area measured diagonally. ** Requires optional accessories, compatible HDTV. *** Not all products with USB connectors may communicate with each other due to chipset variations. **** Non-metric weights and measurements are approximate and may vary.
†
Standard kit lens: DT 18-70mm f3.5-5.6.
55
Index
2 Gigabytes on-board storage 45
DSC-T20 9, 30, 51
NightShot® system 24
35mm equivalence 16
DSC-W200 3, 20, 28, 30, 50
NiMH Stamina® batteries 33
a100 DSLR 3, 18, 23, 24, 26, 28, 31, 32, 36, 41, 43,
46, 48, 53
DSC-W55 20, 30, 50
Noise, image sensor 22, 23
DSC-W80 5, 30, 44-45, 50
Optical viewfinder 29, 30
AccuPower® meter 33
DSC-W90 13, 30, 50
Optical zoom 10-11, 16, 18-19
Advanced Sports Shooting Mode 11, 35
Optimized printing with Sony cameras 48
AE Lock 40
DSLR-A100 3, 18, 23, 24, 26, 28, 31, 32, 36, 41, 43,
46, 48, 53
AF Illuminator 34
Dual media capability 32
Photo album, electronic 44-45
Album feature 45
Dust, image sensor 22, 24
PictBridge™ compatibility 44, 47
Analog-to-digital conversion 24
Dye sublimation 47-49
Picture Motion Browser software 46
Anti-dust technology 24
Dynamic Range Optimizer (DRO) 7, 13, 26, 41
PictureStation kiosks 44, 47
Aperture Priority 40
Exposure Compensation 38
PictureStation™ home printers 15-16, 44, 47-49
Aperture 37-40
Exposure Value 37
Pincushion distortion 17
Applications, computer 31, 44, 46-47
Exposure 37-42
Pixels 20-21
APS-size image sensor 16, 17, 23
Face Detection 3, 26, 27, 34, 38, 42
Power consumption 26, 33
Auto Bracketing 40
First or Rear Curtain Flash 43
Printer editing 48
Auto Exposure (AE) 38-40
Flash modes, flexible 43
Printing 15-16, 44, 47-49
Auto Touch-Up™ Function 15, 48
Flash 42-44
Program Auto Exposure 38
Barrel distortion 17
Flexible Spot AF 36
RAW file formats 31, 46-47
Batteries 26, 32-33
Focal length 16, 18, 20, 37
Real Imaging Processor™ LSI 28, 33
Battery and charger, accessories 33
Focus 16, 34-36
Red-eye filter 26, 27, 43
Battery and charger, included 33
Free-angle LCD monitor 30
Red-eye reduction 15, 26, 27, 42, 43, 48
BIONZ™ image processor 3, 7, 12, 13, 15, 26, 27,
34-35, 38, 41, 42, 43, 48
Full HD 1080 4-5, 26, 44-45
Resolution, image sensor 22, 23
Geometric accuracy, lens 17
Resolution, lens 17
Blur, from camera shake 8-9, 25-26, 27, 28, 29
High Definition 4-5, 26, 44-45
Scene modes 38-39
Burst mode 26, 41
Histogram 41
Selectable AF 35-36
Carl Zeiss lens 11, 18, 19
ImageStation.com 44, 47
Sensitivity, image sensor 22, 23
Carl Zeiss T* coatings 18
In-camera retouching 26-27
Sharing 44-49
CCD 22-24
InfoLITHIUM® battery 33
Shutter Priority 39
Charge Coupled Device (CCD) 22-24
Internal memory 31
Shutter speed 37-40
Clear Photo LCD Plus™ monitor 30
Internet printing 44, 47
Size, image sensor 16, 22, 23
Clear RAW™ noise reduction 9, 27-28
ISO sensitivity 9, 27, 28, 37, 40
Slide Show 5, 44, 45
Color convergence, lens 17
JPEG file format 25, 31
Slow Shutter NR 24
Color gamut, printing 49
Kiosk printing 44, 47
Smart Zoom™ function 29
Color reproduction, image sensor 21
LCD monitor 29-30, 41, 48
Specifications 54-55
Compact zoom lens 19
Lens and sensor size 16
Speed, image processor 12-13, 25
Conversion lenses and filters, optional 20
Lenses, integral and interchangeable 17, 18
Speed, printer 47
Data Converter SR software 31, 46, 47
Lithium Ion battery 33
Super HAD® CCD image sensor 23
Data files 25, 31, 32, 44
Macro photography 19
Super SteadyShot® image stabilization 9, 27-28
De-mosaicing 25, 28
Magnifying Glass mode 19
SuperCoat2™ treatment 49
DPOF printing 47
Manual Exposure 40
Transflective LCD monitor 29
DPP-FP70 44, 47-49, 53
Manual focus 36
Tripods, accessory 29
DPP-FP90 15, 44, 47-49, 53
Maximum aperture 16, 37
True zoom optical viewfinder 30-31
DRO 7, 13, 26, 41
Media card flexibility, printer 48
TruFast™ printing speed 47
DSC-G1 29, 45, 46, 52
Megapixels 20-21
TTL electronic viewfinder 30
DSC-H7 11, 18-19, 20, 30, 35, 36, 43, 52
Memory Stick® media 31-32, 47, 48
TTL optical viewfinder 30
DSC-H9 11, 18-19, 20, 24, 30, 35, 36, 43, 52
MPEG Movie modes 32
TTL Pre-Flash Metering 42-43
DSC-N2 30, 35, 45, 51
Multi-Burst 42
White Balance 25, 41
DSC-S650 33, 50
Multi-Pattern Measuring 40-41
Xross Media Bar™ inspired interface 30
DSC-S700 33, 50
Multi-Point Auto Focus 34-35
DSC-T100 7, 19, 30, 51
56
PC-free printing 47, 48
© 2007 Sony Electronics Inc. Reproduction in whole or in part without written permission is prohibited. All rights reserved. Features and specifications are subject to change without
notice. TV reception is simulated. Except where noted, all photos are samples for illustration purposes only. Non-metric weights and measures are approximate and may vary. Sony, the
Sony logo, AccuPower, Alpha, “a”, Auto Touch-Up, BIONZ, BRAVIA, Clear Photo, Clear Photo LCD Plus, Clear RAW, Cyber-shot, Cyber-shot Station, InfoLITHIUM, like.no.other, Memory Stick,
Memory Stick Duo, Memory Stick PRO, Memory Stick PRO Duo, the Memory Stick logo, NightShot, PictureStation, Print by Sony, Real Imaging Processor, Remote Commander, Smart
Zoom, Stamina, SteadyShot, Super SteadyShot, SuperCoat2, Super HAD, TruFast and XFine are trademarks of Sony. “PSP,” “Xross Media Bar,” and “XMB” are trademarks and “PLAYSTATION”
is a registered trademark of Sony Computer Entertainment Inc. Carl Zeiss, Planar, Sonnar, Vario-Sonnar and Vario-Tessar are trademarks of Carl Zeiss. All other trademarks are property
of their respective owners.
Sony Electronics Inc.
Digital Imaging and Information Technology Group
16530 Via Esprillo Drive
San Diego, CA 92127
1-800-295-7669
www.sony.com/dsc
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