Sony Alpha 35 at a glance:
- 16.2 million effective pixels
- ISO 100-12,800
- 7fps with continuous autofocus
- 3in LCD screen with 921,000 dots
- 700 Euros (estimated price)
Sony caused quite a stir last year when it unveiled its new SLT (single-lens translucent) cameras, the Alpha 33 and Alpha 55, complete with translucent mirror technology. Since then, a watchful eye has been kept on Sony’s next step with this range.
We didn’t have to wait long, though, as less than a year later the second generation of SLT models has been announced, with the Alpha 35 replacing the now discontinued Alpha 33.
With regard to generational progression between cameras in a range, it is usually the case that a newcomer’s specification will more or less match that of the model that sits above it. And so it is with the Alpha 35.
Although a more affordable camera, the Alpha 35 has virtually the same core feature set as the higher specification Alpha 55, namely the 16.2-million-pixel sensor. In light of this, it will be interesting to see how beefed-up the Alpha 55’s replacement will be when it is announced.
However, there are differences. Sony says that in order to keep manufacturing costs down and pass the savings on to the consumer, it has scrimped on its choice of LCD screen, which is now a fixed type rather than the vari-angle version used in the Alpha 33 and 55.
At the time of writing the RRP had not yet been revealed, so we don’t know how much the fixed screen really benefits the asking price, but we expect the Alpha 35 to cost around t700. It will be interesting to see whether this trade-off between handling and price has been worthwhile.
Features
The most notable of the Alpha 35’s features is the updated imaging sensor, containing 16.2 million pixels. This marks a 2-million-pixel increase over its immediate predecessor, the Alpha 33, and is equal in number to the Alpha 55.
However, Sony assures us that the sensor is a refined version and is not the same as that used in the Alpha 55. Last time round we were impressed by the Alpha 55’s sensor and its image-quality, so I expect very good things here. As before, the Alpha 35 uses Sony’s Bionz processor for JPEG and raw files, while the sensitivity range remains at ISO 100-12,800.
Images can be viewed on both the 3in, 921,000-dot LCD screen and the 1.15-million-dot electronic viewfinder (EVF). A sensor just below the EVF detects whether the user has their eye held up to it, and will automatically switch the view between the two screens.
After the fixed LCD, a second key difference between the Alpha 35 and the more expensive Alpha 55 is that the shooting rate is 5.5fps in the Alpha 35 rather than 10fps. A new shooting mode is available in the form of tele-zoom high-speed, which applies a 1.4x magnification to the frame for a more responsive 7fps high-speed burst with continuous AF.
Several new picture effects can now be applied to still and moving images pre-capture. When set before shooting, both live view and the EVF can display the effect, which provides a useful reference. The seven new effects include retro photo and high key.
Build and handling
All SLT models are almost 30% smaller and lighter than Sony’s equivalent Alpha 560 and 580 DSLRs. This is achieved through the use of an EVF, so removing the need for an optical prism. At 124.4x92x84.7mm, the Alpha 35 is as impressively compact as its predecessor and its older stablemate.
However, it has shed a little weight and comes in lighter than the other two at 473g, including battery and memory card. I put this down to the fact that the LCD screen is now a fixed unit, which reduces the necessary circuitry.
Not only is the Alpha 35 the same in size, but its button layout is almost identical to Sony’s other SLTs. All key functions are within a finger’s reach on the camera’s exterior, and the textured handgrip fits the hand perfectly. The only distinguishable difference is the fixed LCD screen.
Image-hungry shooters – which will no doubt apply to anyone interested in the Alpha 35 – will appreciate the improved battery life. At 440 shots from a full charge, it is not only capable of 100 more shots than its predecessor, but also 60 more than the Alpha 55. Generally, then, the Alpha 35 handles very well indeed, and even users unfamiliar with Sony cameras will quickly get used to it.
White balance and colour
Those familiar with the Sony Alpha range, and indeed the first-generation SLT cameras, will know that the colours produced are punchy and vivid, especially in sunny conditions. This remains the case with the Alpha 35. Auto white balance also performs as expected and can be relied upon in most situations. It is a little warm in tungsten light and a tad neutral in warmer sunlight, but this is not unusual.
Image: Auto white balance is a little warm in tungsten light, so it is best to employ the dedicated tungsten white balance
Two of the more effective picture effects include partial colour and high-contrast mono. The former extracts all colours but one and can be applied for yellow, green, red or blue, while the latter mode gives punchy and very pleasant results.
Image: The partial colour shooting mode can work well in some situations, like here where the flower petals stand out
Metering
The Sony Alpha 35’s 1,200-zone evaluative metering is the same as that used in the first-generation SLT models; as before, it is intelligent in recognising where the subject is in the frame.
It also strikes a good balance between highlights and shadow areas. This allows image detail to be recovered from both ends of the dynamic range and, for the few situations in which the metering struggles, spot and centreweighted control are available and can be speedily employed.
Image: Even in standard mode, colours are punchy without requiring post-capture manipulation
Noise, Resolution and sensitivity
Sony has stuck to the ISO 100-12,800 sensitivity range, which can be extended to ISO 25,600 in multi-frame NR mode. The refined 16.2-million-pixel sensor is as capable as the Alpha 55’s at resolving detail at lower sensitivities. As I would expect from a camera at this level, it can resolve detail up to 26 on our charts.
An output of 4912×3264 pixels provides enough detail for prints of around 16.5x11in at 300ppi without any degradation of quality. The 14.2-million-pixel sensor of the Alpha 33 outputs at 4592×3056 pixels, which equates to 15.5x10in prints at 300ppi.
One of the most impressive things about the Alpha 35 is its ability in low light. Even at ISO 6400 it can still capture detail up to 24 on our charts, which is marginally improved from the Alpha 55. Luminance noise is apparent at this setting but edge detail is still crisp. The highest setting of ISO 12,800 shows a decline in detail but is good nonetheless. I took several images in Guildford town centre at night, and am very pleased with the results.
Resolution, noise & dynamic range: These images show 72ppi (100% on a computer screen) sections of images of a resolution chart, captured using the 105mm f/2.8 Sigma lens at its sharpest setting. We show the section of the resolution chart where the camera starts to fail to reproduce the lines separately. The higher the number visible in these images, the better the camera’s detail resolution at the specified sensitivity setting.
Autofocus
As we explained in our test of the Alpha 33 (AP 9 October 2010), the fixed translucent mirror allows the constant exposure of the AF sensor to light, which means that autofocus is always available. This is of particular interest to action photographers and video users. While it is not quite as responsive as the latest Panasonic G-series cameras – the fastest we’ve yet tested – it is up there among the quickest.
The new, 7fps tele-zoom high-speed mode can be found on the shooting-mode dial. When set, the frame is magnified by 1.4x, which means the frame edges are clipped. Continuous AF is available, although exposure control is sacrificed.
This can be regained by selecting single-frame AF (AF-S), but the point here is to have a responsive high-speed burst with continuous AF. In this mode, I could achieve much longer and more responsive high-speed bursts, and it is likely to please action photographers.
LCD, Viewfinder and video
What is likely to elicit most grumbles is Sony’s removal of the vari-angle LCD screen. While it is stated that this will be reflected in the cost, and is likely to give a greater differentiation between the Alpha 35 and whatever the Alpha 55 is replaced with, I think that action photographers and video users will, like me, miss having the angled screen, with more awkward angles becoming tricky to shoot. That said, it is fine for more regular angles, and gives a good angle of view.
I am impressed with the quality of the display itself: it is bright and, thanks to TruBlack technology, gives deep and rich colours. As before, the screen is 3in with a 921,000-dot resolution. Be aware, though, that it needs regular cleaning because its surface is prone to finger marks.
An angled screen is helpful not only for awkward shooting angles, but also for clearer viewing in bright light because it can be angled away from reflections. Fortunately, when bright daylight is an issue, the 1.15-million-dot EVF is bright and easy to use. It gives a 100% field of view, which is very helpful for accurate framing, and is particularly useful when I want to preview the effect of changes in exposure. Once you are familiarised with the button layout, menus can be navigated without taking your eye away from the viewfinder.
Video is a strong feature of Sony’s SLT cameras and in the Alpha 35 the 1080i HD videos are well complemented by an able AF system and options for external microphones.
Dynamic range
While we do not have official dynamic range data, cameras with a similar sensor, such as the Pentax K-5, Nikon D7000 and Sony Alpha 55, are all able to capture more than 12EV. Looking over my images shows this to be the case with the Alpha 35, which is quite impressive for a camera at this level.
Underexposed images still maintain a lot of image detail in shadow areas, which is demonstrated when bringing back the levels during post-production. Coupled with its impressive noise control, the Alpha 35 can achieve detail recovery with minimal added noise, even up to ISO 800.
Image: Performance in low light is impressive, with good levels of image detail and well-controlled noise
Verdict
In essence, there is little new to talk about here as the release of the Alpha 35 is more about the repositioning of the Sony’s SLT range than fresh technology.
However, the refined sensor is particularly capable of resolving detail and performs well in low light, while the new tele-zoom high-speed shooting mode is genuinely useful. With few changes, the Alpha 35 is in its own right a solid camera and particularly suited to those wanting a compact and lightweight unit that will hold its own in high-speed situations.
