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Page 1: Sony DSLR A300/A350 Digital Field Guidedownload.e-bookshelf.de/download/0000/5729/84/L-G... · 2013. 7. 17. · Sony® DSLR A300/A350 Digital Field Guide Published by Wiley Publishing,

Sony® � DSLR A300/A350 Digital

Field Guide

01_386279-ffirs.indd i01_386279-ffirs.indd i 10/16/08 5:52:14 PM10/16/08 5:52:14 PM

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Page 3: Sony DSLR A300/A350 Digital Field Guidedownload.e-bookshelf.de/download/0000/5729/84/L-G... · 2013. 7. 17. · Sony® DSLR A300/A350 Digital Field Guide Published by Wiley Publishing,

Sony® � DSLR A300/A350 Digital

Field Guide

Tom Bonner

01_386279-ffirs.indd iii01_386279-ffirs.indd iii 10/16/08 5:52:14 PM10/16/08 5:52:14 PM

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Sony® � DSLR A300/A350 Digital Field Guide

Published byWiley Publishing, Inc.111 River StreetHoboken NJ 07030-5774www.wiley.com

Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-38627-9

Manufactured in the United States of America

10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions.

LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HERE-FROM. THE FACT THAT AN ORGANIZATION OR WEB SITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OF WEB SITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEB SITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAP-PEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ.

For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (800) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002.

Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.

Library of Congress Control Number: 2008938383

Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affi liates. Trademark information here. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book.

01_386279-ffirs.indd iv01_386279-ffirs.indd iv 10/16/08 5:52:14 PM10/16/08 5:52:14 PM

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About the AuthorTom Bonner has been a photographer and journalist for more than three decades. His early work revolved around automotive and motorsports subjects, and his photos appeared extensively in automotive and travel magazines in the U.S. and Canada. He also edited a monthly publication for the International Show Car Association and traveled throughout the U.S. on photographic assignments for the ISCA.

At the start of the electronic publishing revolution, Bonner accepted a position with Applied Graphics Technology, where he worked closely with several major advertising agencies helping develop digital workfl ows and retouching ad images for Chevrolet, Buick, and GMC trucks.

The turn of the millennium found Bonner in coastal North Carolina. He continued to employ his photographic skills, recording golf courses, exclusive beach homes, and architectural subjects with both fi lm and digital cameras.

Always a Minolta user, Bonner transferred his allegiance to the fl edgling Sony Alpha dSLR line when Sony took over the photographic assets of Konica Minolta Corporation. In addi-tion to exploring the new dSLRs from Sony, Bonner began to blog about the Alpha dSLR models at Alphatracks.com. Covering anything of interest to Sony Alpha and Minolta SLR owners, Alphatracks serves as an outlet for Bonner’s abiding interest in cameras, lenses, and photographic techniques.

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Acquisitions Editor

Courtney Allen

Project Editor

Chris Wolfgang

Technical Editor

Bert Pasquale

Copy Editor

Lauren Kennedy

Editorial Manager

Robyn B. Siesky

Vice President & Group Executive

Publisher

Richard Swadley

Vice President & Publisher

Barry Pruett

Business Manager

Amy Knies

Senior Marketing Manager

Sandy Smith

Project Coordinator

Erin Smith

Graphics and Production Specialists

Carrie A. Cesavice

Andrea Hornberger

Jennifer Mayberry

Quality Control Technician

Jessica Kramer

Proofreading

Lynda D’Arcangelo

Indexing

Sherry Massey

Credits

Page 7: Sony DSLR A300/A350 Digital Field Guidedownload.e-bookshelf.de/download/0000/5729/84/L-G... · 2013. 7. 17. · Sony® DSLR A300/A350 Digital Field Guide Published by Wiley Publishing,

For Vicki, who waited while I wrote...

Page 8: Sony DSLR A300/A350 Digital Field Guidedownload.e-bookshelf.de/download/0000/5729/84/L-G... · 2013. 7. 17. · Sony® DSLR A300/A350 Digital Field Guide Published by Wiley Publishing,
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Acknowledgments

Special thanks to Courtney Allen, who believed in me enough to suggest I write this book; and who was a constant encouragement during the book’s development. I

would also like to thank Chris Wolfgang, who as project editor, went out of her way to answer questions and make suggestions that unquestionably made for a better book. Technical editor Bert Pasquale was another source of encouragement, and it was comfort-ing to know that with his long experience with Sony and Minolta SLR cameras he was watching my back. Finally, I owe thanks to Lorena D’Amato of Paine PR, who always responded immediately to requests for specifi cations and artwork regarding the Sony Alpha A300 series.

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Acknowledgments ix

Part I: Using the Sony Alpha A300 Series 1

Chapter 1: Exploring the Sony Alpha A300 and A350 3

Working with the Sony Quick AF Live View System 5

Mastering the A300 Series Controls 8Front camera controls and

features 9Top camera controls and

features 9Right side of the camera 14Left side of the camera 15Back of the camera 16

Chapter 2: Setting Up Your Alpha A300 Series DSLR 23

Using the Menu List 24Flash mode 24Autofocus mode 25White balance 26Metering mode 28AF area 29D-Range Optimizer 29

Surveying the Main Menu Options 30Recording menu 1 30

Image size 31Aspect ratio 31Quality 32Creative style 32Flash control 32Flash compensation 33

Recording menu 2 33Priority setup 33AF illuminator 34Long exp. NR 34High ISO NR 34Rec mode reset 34

Custom menu 35Eye-Start AF 35AEL button 35Cntrl dial setup 35Red eye reduc. 35

Contents

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Auto review 36Auto off w/ VF 36

Playback menu 1 36Delete 36Format 37Protect 37DPOF setup 37Date Imprint 39Index Print 39

Playback menu 2 39PlaybackDisplay 39Slide show 39Interval 40

Setup menu 1 40LCD brightness 40Info.disp.time. 40Power save 40Video output 40Language 41Date/Time setup 41

Setup menu 2 41File number 41Folder name 41Select folder 41New folder 42USB connection 42Audio signals 42

Setup menu 3 43Pixel mapping 43Cleaning mode 43Reset default 43

Part II: Creating Great Photos with the Alpha A300 Series 45

Chapter 3: Photography Essentials 47

How Aperture Aff ects Your Images 48Understanding aperture 48Deciphering f-stops 49

How Shutter Speeds Infl uence Your Photos 50

Understanding Exposure 52The role of ISO in exposure 52Understanding exposure

latitude 53Working with highlights and

shadows 54Utilizing Sony’s Dynamic Range

Optimizer 57The importance of optimum

white balance 58Composition 60

The rule of thirds 60Using direction to aid

the viewer 61

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Chapter 4: Lenses and Accessories 63

Selecting Lenses to Complement Your A300 Series Camera 63

The advantages of Super Steady Shot 67

Understanding lens crop factor 67

Sorting Through Your Lens Options 69Telephoto lenses 69Normal lenses 70Wide-angle lenses 71Macro lenses 72Zoom lenses 73Prime lenses 73

Available Lenses for the A300 Series 74

Analyzing the A300 series kit lenses 74

Sony lenses 75Minolta lenses 77

Should You Buy a Used Lens? 80Extending Lens Reach with a

Teleconverter 82Must-have Accessories for the

A300 Series 83Vertical grip 83GPS-CS1KASP GPS unit 84Electronic cable releases 84

Chapter 5: Lighting Fundamentals 85

Refl ected Light 85Continuous Lighting 86Electronic Flash 88Studio Strobe Units 90Light Modifi ers 91

Softboxes 91Photo umbrellas 92Light tents 93Flash diff user attachments 94Grids and barn doors 94

Using Artifi cial Light with the A300 Series 94

Sony/Minolta hotshoe 94Off camera fl ash 97Wired fl ash 98Wireless fl ash 99Radio triggers 100

What to Look for in an External Flash Unit 101

ADI and TTL dedicated fl ash compatibly 101

High Speed Sync 102Bounce and swivel 103Remote battery packs 103

Sony Dedicated Flash Units 103Using Older Minolta Flash Units

with the A300 Series 104

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Part III: Shooting with the Alpha A300 107

Chapter 6: Photo Subjects 109

Animal and Pet Photography 109Inspiration 110Animal and pet photography

practice 111Animal and pet photography

tips 112Architectural Photography 113

Inspiration 114Architectural photography

practice 116Architectural photography

tips 117Black and White Photography 118

Inspiration 121Black and white photography

practice 122Black and white photography

tips 123

Event Photography 124Inspiration 125Event photography practice 126Event photography tips 127

Flash Photography 128Inspiration 129Flash photography practice 130Flash photography tips 132

Flower and Garden Photography 132Inspiration 133Flower and garden

photography practice 134Flower and garden

photography tips 135Food Photography 136

Inspiration 136Food photography practice 137Food photography tips 139

High Dynamic Range Photography 139Inspiration 141HDR photography practice 142HDR photography tips 143

Landscape and Nature Photography 144

Inspiration 145Landscape and nature

photography practice 146Landscape and Nature

photography tips 148Macro Photography 148

Inspiration 148Macro photography practice 150Macro photography tips 152

Night Photography 153Inspiration 154Night photography practice 155Night photography tips 156

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Panoramic Photography 157Inspiration 158Panoramic photography

practice 160Panoramic photography tips 161

Portrait Photography 162Inspiration 163Portrait Photography Practice 164Portrait Photography Tips 166

Product Photography 166Inspiration 166Product photography

practice 167Product photography tips 169

Seasonal Photography 169Inspiration 169Seasonal Photography

Practice 171Seasonal Photography Tips 173

Special Eff ects Photography 173Inspiration 173Special eff ects photography

practice 176Special eff ects photography

tips 178Sports and Action Photography 178

Inspiration 179Sports and action

photography practice 180Sports and action

photography tips 181Travel Photography 183

Inspiration 183Travel photography practice 185Travel photography tips 186

Weather Photography 186Inspiration 187Weather photography

practice 189Weather photography tips 191

Chapter 7: Creating a Digital Workfl ow 193

Transferring Images to Your Computer 194

Copying photos with a USB cable 194

Copying photos wirelessly 194Copying fi les with a card

reader 195The Advantages of a RAW

Workfl ow 195Working with JPEG 195Advantages of RAW 196RAW conversion software

for the Sony A300 series 197Third-Party Converters for RAW

Images 199Adobe Photoshop Lightroom 200Aperture 201iPhoto 202Silky Pix Developer Studio 202

Archiving and Cataloging Images 203Microsoft Expression Media 204Google’s Picasa 204Apple iPhoto and Aperture 205Adobe Bridge and

Photoshop Lightroom 205Sony’s Picture Motion

Browser 206Storage Medium Options 206

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Dedicated Sharpening and Noise Reduction Applications 208

Pixel Image Editing Applications 208Adobe Photoshop 209Adobe Photoshop Elements 210The GIMP 210

Appendix A: Sony Alpha Resources 213

Specialty and Used Camera Dealers 213

Alpha Lens Rental 213Gadget Infi nity 213KEH Camera 214Adorama 214B&H Photo 214Seagr112’s Maxxum/Sony

photo gear 215Support and Technical

Information 215Sony eSupport 215Sony Australia Alpha dSLR

Centre 215Minolta Maxxum Dynax AF

Lens Service Repair Manual Mini CD 215

Flash trigger voltage report 216A-mount Lens and Flash

Information 216The Dyxum A-mount lens

database 216Fotographie – Mike Hohner 216Maxxum Eyes 216Photography Review 217Photozone 217

Sony/Minolta Forums and Discussion Groups 217

Dynax Digital 217dPreview (Digital

Photography Review) 217Steve’s Digicams 217Photoclub Alpha 218Flickr 218Yahoo! Groups 218Google Groups 218

Blogs 218AlphaMount World 218Alphatracks 218Sony-Alpha.org 219Sonolta.com 219

Appendix B: Troubleshooting 221

Keeping Your Compact Flash Cards Healthy 221

Upgrading Your Camera’s Firmware 224

Checking the fi rmware on your camera 224

Use extreme care when installing new fi rmware 224

Preventing Sensor Dust 225Resetting to the Default Settings 228Battery Basics 228

Glossary 231

Index 239

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Introduction

With the introduction of the Alpha A300 and its near twin the A350, Sony has blurred the distinction between introductory and advanced dSLR cameras. Both

models include the features that users have come to expect in a high quality dSLR, but Sony has added icing to the cake with the exciting Quick Live View system. While other dSLR makers are also off ering live view systems, the live view on the Sony A300 series is in a class by itself. At the time this was written, no other dSLR has a live view system that can match the features Sony has incorporated into the LCD on the A300 series.

Of course, the live view technology is only a single part of the A300 series. Both models include Sony’s Super Steady Shot image stabilization feature, which incorporates stabiliza-tion in the body, rather than in the lens. Image stabilization reduces camera shake in low light conditions, and with the Sony system, users do not need to buy special image stabi-lized lenses; nearly every A-mount lens will be stabilized on the A300 series.

With a maximum shutter speed of 1/4000 second and a choice of either a 10 or 14 mega-pixel sensor, the A300 series provides features that, until recently, even the most profes-sional camera couldn’t match.

The great news is that Sony gives users the choice between a simple to use automatic expo-sure system or a fully customizable manual set up. No matter what level your photography experience, you can tune the A300 series to match.

Which illustrates the need for this book. Whether the A300 series camera is your very fi rst dSLR or you have been shooting with a SLR for many years, the intent of this book is to help you get the most out your camera. While the automatic and semi-automatic features will allow you to create incredible images, automatic settings will only take you so far. If you really want to exploit all the features on the A300 series, you will need to delve beyond the automated settings and take full control of the camera. Both models in the A300 series are simple to use, but a full understanding of the controls will pay huge dividends when you are ready to move beyond creating mere snapshots.

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Getting the most from this bookNo matter where you stand on the photographic experience scale, it will be worth your while to study Chapters 1 and 2. These chapters explore the controls and menus on the A300 series in depth, and after reading them you will be well equipped to set up your cam-era for any conceivable photographic situation.

Chapter 3 will review the basics of photography, especially as they relate to digital SLR cam-eras. By reading through Chapter 3, you will be able to fully take advantage of the informa-tion you learned in Chapters 1 and 2.

Chapters 4 and 5 explore the accessories available for the A300 series, most notably auxil-iary lenses and electronic fl ash units. If you are brand new to the world of dSLR photogra-phy, you may elect to skip these chapters the fi rst time you read through this book. At some point, however, most dSLR owners fi nd a need for additional lenses and lighting equip-ment. When that time comes, a careful perusal of Chapters 4 and 5 will prove very helpful.

Chapter 6 is the meat of the book, as it consists of exercises designed to hone and polish your photographic skills. If you take the time to work through some or all of the exercises in Chapter 6, you will be well on your way to mastering the A300 series.

Chapter 7 concludes the book by exploring your workfl ow options. There is a myriad of software options available to process and edit the images you shoot with the A300 series, and you should make sure you are aware of your software choices.

Finally, you will fi nd troubleshooting information and a list of resources for Sony Alpha users in the Appendix section. The information here can help you to keep your A300 series healthy and introduce you to the extended Sony Alpha community.

Remember, this is a fi eld guide, and as such it is designed to be carried with you on your photography excursions. Keep it handy in your camera bag, because you never know when you will encounter a situation where it could prove helpful. Don’t worry about the book becoming worn or dog eared. If you wear this book out while exploring photographic pur-suits, you will undoubtedly increase your skills and knowledge. That means the book will have done it’s job well.

Finally, don’t just read about photography. Go out and have fun with your camera!

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Using the Sony Alpha A300 Series II

P A R T

✦ ✦ ✦ ✦

In This Part

Chapter 1 Exploring the Sony Alpha A300 and A350

Chapter 2 Setting Up Your Alpha A300 Series DSLR

✦ ✦ ✦ ✦

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11C H A P T E RExploring the Sony Alpha A300 and A350

The Sony A300 and Sony A350 are twins: With the exception of the sensor, the cameras are identical. All

the controls and menus work in exactly the same way. If you placed either an A300 or A350 into the hands of an experi-enced A300 series user, she wouldn’t know which camera she was using unless she peeked at the camera’s nameplate.

Of course, the real diff erence is the sensor inside the camera. The A350 records 14.2 megapixels (mp) of information, while the A300 captures 10.2 mp of data.

Some people will jump to the conclusion that the A350, with its higher resolution sensor, is the better of the two cameras. In truth, both cameras are great dSLRs, and are designed to appeal to diff erent users. For some photo pursuits, the A300 is defi nitely the better choice, while in other situations the A350 excels. To say that one camera or the other is superior is a misnomer. At the end of the day, each camera can record wonderful images that meet its owner’s particular needs.

Some people think 14 mp is overkill, especially when you consider that, until recently, many professional photographers were shooting with 6 mp cameras. Don’t overlook the advan-tages of a high-resolution sensor, however. In the fi rst place, that high resolution will allow you to make huge prints. When images from lesser cameras start to fall apart, images from the A350 will still have resolution to make an excellent poster or wall hanging.

✦ ✦ ✦ ✦

In This Chapter

Working with the Sony Quick AF Live View system

Mastering the A300 series controls

✦ ✦ ✦ ✦

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4 Part I ✦ Using the Sony Alpha A300 Series

can only muster 2.5 fps. A half frame a sec-ond may not sound like a major diff erence, but that means in a two second burst; the A300 can squeeze out six frames to the A350’s fi ve. That extra frame could be the most important in the sequence.

A300 users are also dealing with smaller image fi les. File sizes of RAW and large JPEGs from the A350 are roughly 4 mp larger than those from the A300. This neces-sitates more space to store the images, reduces the number of images that can be recorded on a memory card, and requires more computer power to process images.

Finally, there is the issue of high ISO noise. In order to shoehorn four more megapixels onto the A350’s sensor, Sony engineers had to make the individual pixels smaller. Smaller pixels collect less light, so the A350 requires more image amplifi cation than the A300 to achieve a specifi c ISO. More

The other major advantage comes when you crop images. If you need to crop exten-sively, images from a higher resolution sen-sor give you more pixels to work with. If you crop away 75 percent of the pixels from a 14.2 sensor, you still have 3.55 mp to work with. Eliminate 75 percent of a 10.2 mp sen-sor and you are left with 2.55 mp. If you always shoot in a studio, and have full con-trol of the crop, then this may not be impor-tant to you. If you shoot sports, concerts, political functions, or other events where unexpected photo opportunities require you to shoot even when you can’t fi ll the frame, that extra 4 mp could be a lifesaver.

Despite the advantages of the A350’s sen-sor, however, the A300 provides its own strong points.

Because it is dealing with less pixel data, the A300 can shoot at 3 frames per second (fps) when using the optical viewfi nder. The A350

1.1 The A300 and A350 are functionally and cosmetically identical. The A350 boasts a higher resolution sensor, while the A300 off ers a faster burst mode and marginally better image quality at high ISO settings.

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Chapter 1 ✦ Exploring the Sony Alpha A300 and A350 5

amplifi cation creates more noise, so the A300 enjoys a slightly better image quality at higher ISO settings.

None of these comments are intended to suggest that either camera is fl awed. At the end of the day, both models are excellent, full-featured dSLRs that can provide stunning images.

Working with the Sony Quick AF Live View SystemThe A300 series has broken new ground in the dSLR arena, as both models come with Sony’s brand new Live View system. Sony is not the fi rst dSLR maker to off er a live LCD

1.2 Most models of the A300 series are black, but Sony has announced a champagne-colored A300 version, which is only available from the Sony-Style website. Reportedly, Sony will off er a very limited champagne-colored A350 in the Japanese market.

Image sensorfor live view

Tilting mirror

Mirror

AF sensor

1.3 Unlike most of the competition, Sony’s Quick AF Live View system features two sensors. By focusing off the second sensor, the Alpha design can focus rapidly in the Live View mode, a major advantage over competitors.

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6 Part I ✦ Using the Sony Alpha A300 Series

In the normal optical viewfi nder mode, the camera operates like any other SLR. When you look through the viewfi nder, a system of mirrors and a ground glass allow you to see exactly what the lens is seeing. In this mode, the LCD is strictly for selecting menu options and viewing images you have already shot.

Moving the switch on the top of the camera into the Live View mode changes the cam-era from a dSLR into an electronic view-fi nder (EVF) camera. The mirror moves out of the light path and the optical viewfi nder is no longer useable. Instead, a second sen-sor located in the bottom of the mirror chamber displays the view through the lens

view, but the A300 live preview off ers sig-nifi cant improvements over similar systems from the competition.

While almost all point-and-shoot cameras allow you to compose off the rear LCD screen, until recently dSLR users could only compose and focus with the camera’s opti-cal viewfi nder. Because SLR cameras utilize a mirror in the light path, it is diffi cult to design an LCD preview system that allows users to use the LCD screen as a viewfi nder.

Sony’s approach to this dilemma is to use a switch to allow the user to switch between the optical viewfi nder and the LCD.

1.4 The LCD screen can tilt through a wide range of angles, so you can see the preview image from above, below, and behind.

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Chapter 1 ✦ Exploring the Sony Alpha A300 and A350 7

Tilting the screen out from the bottom gives you the opposite eff ect. Now you can use the LCD screen as a waist-level viewfi nder or get an extremely low point of view with-out crawling on the ground.

The angle of the LCD is fully adjustable up to 90 degrees from the camera’s back, so you can obtain the perfect angle for viewing.

Using the Live View LCD as a waist-level viewfi nder is a great way to add interest to your images. By shooting up at your subject, you create the impres-sion that they are strong, brave, and larger-than-life. The A300 series gives you the option to shoot either from eye level or waist level with a fl ick of a switch.

You have to remember to switch back to the OVF setting when you want to use the opti-cal viewfi nder. Until you do, the optical viewfi nder will be totally black.

One other component of the Live View mode is the Smart Teleconverter feature. While not strictly part of the Live View system, the Smart Teleconverter relies on the Live View system to display the eff ect of the digital zoom.

The term teleconverter implies that the cam-era is somehow magnifying the focal length of the lens to provide a greater telephoto eff ect. That is what an actual teleconverter does, so new users of the A300 series can be forgiven if they expect the same thing to happen when they employ the Smart Teleconverter feature.

That is not what happens, however. If Sony had called the feature “Smart Cropping,” users might have a better idea of what the feature actually does.

on the LCD screen. You can focus or zoom and see the results instantly. If you move the camera very quickly, the image on the LCD screen may smear slightly, but all in all, the LCD view is perfectly useable as a viewfi nder.

By using an additional sensor, Sony’s system is much faster than competitors that read the live view data off the actual image-capturing sensor. Most of these system can’t focus very well in the Live View mode, because the mirror has to be up to read the data from the sensor, and come back down to focus. Thus, these systems are much slower when shooting in Live View because the camera waits until the time of the shot to focus the lens, requiring additional time before the shutter can fi re.

In contrast, Sony’s dual sensor system can autofocus as fast in the Live View mode as it can with the optical viewfi nder, earning the A300 series the reputation of having the fastest and most accurate live view system to date. As the owner of an Alpha A300 series camera, you may not appreciate just how much better the Sony Live View is until you compare it to dSLRs from other makers. Some competing models are starting to improve, but most of the live view imple-mentations from other manufacturers fall short compared to the system A300 series owners enjoy.

If Sony’s Live View simply off ered a fast LCD live view, it would still be superior to the com-peting live view technologies. But Sony didn’t stop there. The LCD screen tilts up and down, making it much more useful. Tilt the top of the screen out and you can use the LCD screen when the camera is above you. This is very helpful if the camera is on a tall tripod, or when you’re holding the camera above to get a “bird’s eye view” of your subject.

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8 Part I ✦ Using the Sony Alpha A300 Series

1. Turn on Live View.

2. Point the camera toward the sub-ject and observe the subject on the LCD screen.

3. Press the Smart Teleconverter button.

The Smart Teleconverter icon with the indication x1.4 appears on the LCD and the preview image appears 1.4 times larger.

4. Press the Smart Teleconverter a second time.

The Smart Teleconverter icon with the indication x2 will appear on the LCD screen and the preview image will appear 2 times larger.

5. Pressing the Smart Teleconverter button a third time returns every-thing to the normal 1 to 1 setting.

An image taken at the 1.4x or 2x setting will be cropped to the view displayed on the LCD.

If the camera is switched off or the LCD blacks out to save power, the Smart Teleconverter returns to the normal 1 to 1 setting.

If the camera is not in Live View mode or the camera is set to record RAW fi les, press-ing the Smart Teleconverter button displays the cryptic notice “Invalid Operation” on the LCD screen.

Mastering the A300 Series ControlsYour A300 series camera includes several controls that enable you to take full charge of your photographic experience. Knowing where those controls are and how to use them may seem intimidating at fi rst, but that’s where this section comes in to help.

The Smart Teleconverter doesn’t magnify anything. Instead, it simply crops away a portion of the image to make the fi nal image look larger (1.4 times or 2 times larger). The result is exactly the same as if you recorded a full-resolution JPEG, then cropped it to a smaller size in a software program on your computer. Both images would look like they were taken with a longer focal length lens, but the resulting resolution would be lower.

1.5 The Smart Teleconverter actually crops away parts of the image to create the appearance of image magnifi cation.

That doesn’t mean the Smart Teleconverter is useless. If you intend to print images directly from the memory card, with no postprocessing, the Smart Teleconverter will make your images appear as if they were taken with a longer focal length lens. Because the image is already cropped to a smaller size, the image on the print will be enlarged, making it appear it was taken with a longer telephoto lens.

The Smart Teleconverter can only be used when the camera is in the Live View mode. You cannot use the Smart Teleconverter in RAW capture mode.

To use the Smart Teleconverter, follow these steps:

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Chapter 1 ✦ Exploring the Sony Alpha A300 and A350 9

On the right front, you will fi nd the lens release button. To remove a mounted lens, press the release button and twist the lens counterclockwise until it is free.

Top camera controls and featuresThe A300 series has several controls located on the top plate of the camera. A single mode dial is located to your left when you look at the camera from a shooting position. You will use the mode dial often to control which picture-taking function you want to

Front camera controls and featuresLooking from the front, the A300 series con-trols are kept to a minimum. On the left is the built-in grip with the shutter release but-ton and control dial.

The control dial is used to adjust either the aperture or shutter speed, depending on which mode the camera is in.

Below the control dial, you will fi nd the self-timer lamp. It fl ashes red when the self-timer is counting down to make an exposure.

Shutter release

Control dial

Self-timer lamp

Lens release button

1.6 The business end of the A300 series is simple and uncluttered. It is also the only angle where you can tell the two models apart, thanks to the name badge and megapixel decoration.

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10 Part I ✦ Using the Sony Alpha A300 Series

use. Many settings and menus are depen-dent on which position the mode dial is in; you will always need to be aware of which mode you are using when setting up your camera.

The mode dial and available modes are explored in depth in Chapter 2.

On the very top of the camera you will fi nd the hotshoe for the A300 series. The hot-shoe provides a location to attach external fl ash units and accessories. Like all Sony Alpha dSLRs, the hotshoe is derived from the proprietary Minolta shoe design.

Some other Sony Alpha models come with a plastic cap that keeps dirt and debris from the hotshoe contacts. Sony doesn’t provide

Mode dialLive view/Optical

viewfinder switch Control dial Shutter release

Hot shoe Drive button

ISO button

Film plane indicator

1.7 The A300 series from the top, showing the mode dial, prism, and controls.

a cover with the A300 series, but it does sell caps as an accessory on the Sony Style Web site. It isn’t strictly necessary, but adding the optional cap will keep your hotshoe clean and give your camera a more fi nished appearance.

The Sony hotshoe design is dis-cussed further in Chapter 5.

To the right of the prism area, you will fi nd the Live View switch and the drive button. You have already learned about the Live View switch in the live view portion of this chapter.

The drive button brings up a menu on the LCD that allows you to select how the A300 series handles image capture sequence. There are six modes in the drive menu: