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p, blockquote 1,1,0,0,0 -- p, blockquote 2,0,0,0,1 -. 25-inches wide by 2-inches tall design that is both cost-effective and easy to incorporate into an existing avionics stack. We are excited to introduce our GPS 175 and GNX 375 GPS navigators with Localizer Performance with Vertical guidance LPV approach capability. Garmin GPS 175 and GNX 375 Compelling Navigators Offering WAAS LPV Approaches and Optional ADS-B In Out. The GNX 375 has all of the capability of the GPS 175 and adds Automatic Dependent Surveillance-Broadcast ADS-B Out, as well as dual-link ADS-B In via a built-in transponder.
The GPS 175 is a standalone certified IFR navigator with a vibrant, color touchscreen display packed with advanced features and capabilities including WAAS LPV approaches. or less, as well as experimental amateur-built EAB aircraft, the GPS 175 GNX 375 have received Supplemental Type Certification STC and are available immediately from Garmin Authorized Dealers for over 700 aircraft makes models. Intended for Class I II aircraft that weigh 6,000 lbs. Many aircraft have not been equipped with WAAS LPV or ADS-B due to the lack of a compelling value proposition for owners of these aircraft, said Carl Wolf, vice president of aviation sales and marketing.
The GPS 175 and GNX 375 offer WAAS LPV approaches and optional ADS-B In Out with an impressive array of features, performance, and compelling value. Garmin GPS 175 with advanced terrain awareness. Slim and unobtrusive, the GPS 175 GNX 375 include a WAAS SBAS GPS that is IFR approach-capable. A vibrant, colorful touchscreen display boasts a familiar Garmin user experience that enables quick and intuitive entry of flight plan information, while a dual concentric knob and dedicated home button offer added versatility when interfacing with the touchscreen.
Dedicated pages within the GPS 175 include a moving map, flight plan, nearest, procedures, waypoint information and terrain pages, and the GNX 375 adds traffic and weather pages. Customizable data fields and short cuts on the moving map to pilot-selectable pages such as the nearest airport allow for quick, one-touch access to important information in-flight. The addition of a dedicated direct-to button on the touchscreen offers quick access to direct airport or waypoint navigation.
Fully WAAS IFR-approach-capable, the GPS 175 GNX 375 give pilots the benefit of flying LPV, Lateral Performance LPas well as all Area Navigation RNAV approaches. Many approaches offer vertical approach guidance as low as 200-feet above ground level AGL. Pilots can also leverage the touchscreen and moving map to easily generate customized holding patterns over an existing fix in the navigation database or a user-defined waypoint and easily insert it into a flight plan.
Visual approaches are also available within the GPS 175 GNX 375 and provide lateral and vertical approach guidance in visual flight conditions. Visual approaches offer added assurance at unfamiliar airports or in challenging environments to ensure the aircraft is aligned properly with the correct runway, while also taking into consideration terrain and obstacle avoidance. Garmin GPS 175 featuring SafeTaxi.
Designed to replace earlier-generation products such as the iconic GPS 150 155 series, the GX 50 55, as well as the KLN 89 90 94 series, aircraft owners won t have to make significant panel modifications to accommodate the GPS 175 GNX 375. Aircraft owners can also retain many of their existing flight instruments, audio panels and many legacy CDI EHSI indicators such as the KI 209, or easily pair it with a new or existing flight display like the G5 electronic flight instrument.
Additional interface options include the G3X Touch flight display for experimental and certificated aircraft, the GFC 500 and GFC 600 autopilots, as well as select third-party autopilots. Additionally, precise course deviation and roll steering outputs can be coupled to the GFC 500 GFC 600 autopilots and select third-party autopilots so procedures such as holds, radius-to-fix RF legs and missed approaches may be flown automatically.
Built-in Connext cockpit connectivity gives pilots the benefits and efficiencies of a wireless cockpit, enabling wireless flight plan transfer via Bluetooth to and from compatible portables and mobile devices running the Garmin Pilot and FltPlan Go applications. GPS position information and back-up attitude can also be used by compatible products. Because the GNX 375 has an integrated ADS-B transponder and dual link ADS-B In, pilots can also view ADS-B traffic and weather on compatible mobile devices and portables.
Offering a faster, more intuitive method of judging target trajectories and closure rates, ADS B enabled TargetTrend aids in the identification of real traffic threats, while TerminalTraffic displays a comprehensive picture of ADS-B-equipped aircraft and ground vehicles. Patented TargetTrend and TerminalTraffic are exclusively available within Garmin products, including the Garmin Pilot app.
For customers that already equipped for ADS-B, the GTX 345 or GDL 88 can interface to the GPS 175 to display ADS-B In. Additional wireless benefits include Database Concierge, which is available as an option by pairing the Flight Stream 510 with these navigators. The GPS 175 GNX 375 offer unique benefits that only a touchscreen can provide, such as graphical flight plan editing, allowing pilots to more easily edit their flight plan based on an ATC amendment or weather.
Features such as FastFind simplifies flight plan entry by applying predictive logic to suggest airports and waypoints using current GPS location, while Smart Airspace iq option zar account it easier to identify pertinent airspace on the moving map. The addition of SafeTaxi airport diagrams display runways, taxiways, Fixed Based Operators FBO shangars and more relative to the aircraft s location on the airport surface.
The GPS 175 and GNX 375 are expected to be available in April and are approved for installation in over 700 Class I II piston aircraft models that weigh 6,000 lbs. Pilots receive the benefits of high-integrity WAAS SBAS GPS guidance in a compact, 6. or less and can be purchased through the Garmin Authorized Dealer network starting at a suggested list price of 4,995 and 7,995 respectively.
A free Garmin GPS 175 GNX 375 trainer app is also available for download on Apple mobile devices, which allows customers to experience the feature set of these navigators. For additional information, visit www. The GPS 175 GNX 375 are also supported by our award-winning aviation support team, which provides 24 7 worldwide technical and warranty support. Giant virus discovery sparks debate over tree of life. The Klosneuviruses contradict the theory that viruses make up a distinct domain of life, but not everyone is convinced.
Ella Maru Studio. Evolutionary biologists have never known what to make of viruses, arguing over their origins for decades. An illustration of what a Klosneuvirus might look like. But a newly discovered group of giant viruses, called Klosneuviruses, could be a missing link that helps to settle the debate вЂ or provoke even more discord. In 2003, researchers reported that they had found giant viruses, which they named Mimiviruses, with genes that suggested their ancestors could live outside of a host cell 1.
The discovery split researchers into two camps. One group thinks viruses started out as self-sufficient organisms that became trapped inside other cells, eventually becoming parasitic and jettisoning genes they no longer needed. Another group views viruses as particles that snatched genetic material from host organisms over hundreds of millions of years. A study 2 published on 6 April in Science provides evidence for the latter idea, that viruses are made up of a patchwork of stolen parts.
But it has already sparked controversy and is unlikely to settle the raucous debate. After the Mimivirus discovery, some researchers developed a theory that put viruses near the root of the evolutionary tree. Mimiviruses, which at 400 nanometres across are about half the width of an E. coli cell and can be seen under a microscope, were unique in that they contain DNA encoding the molecules that translate RNA messages into proteins.
Normal viruses make their host cells produce proteins for them. The team that discovered Mimiviruses thought the virus ability to make their own proteins suggested that these viral giants descended from ancient free-living cell type that may no longer exist 2. They proposed that viruses comprised a вЂ fourth domainвЂ alongside bacteria, eukaryotes вЂ organisms whose cells contain internal structures such as nuclei вЂ and bacteria-sized organisms called archaea.
вЂњThey reinitiated the debate about the living nature of viruses, and of their relationship with the вЂ cellularвЂ world,вЂќ says evolutionary biologist Jean-Michel Claverie of Aix-Marseille University in France, a co-author of the original Mimivirus paper. Filling in the gaps. The question could be resolved by comparing genome sequences from viruses with those of their eukaryotic hosts.
Mimiviruses contain too few eukaryotic-like genes to perform a statistical analysis that could determine their evolutionary relationships. The difficulty is compounded by the fact that viral genomes mutate very quickly. Klosneuviruses may fill this gap. Their genomes contain code for dozens of enzymes and other molecular machinery used in making proteins.
Some of these parts have never been seen before in any virus, including Mimiviruses. вЂњTheyвЂ re kind of this missing link we havenвЂ t had before,вЂќ says study co-author Tanja Woyke, a microbiologist at the Joint Genome Institute in Walnut Creek, California. One hypothesis on the origins of viruses says that they picked up parts of their genomes from eukaryotic cells.
Credit Carla Schaffer AAAS. Woyke and her colleagues discovered the Klosneuviruses by accident while studying how bacteria break down sewage at a treatment plant in Austria. They sequenced the genomes in their samples to identify the organisms present, and found four genomes similar to those of Mimiviruses. Using sophisticated software to trace the evolutionary history of their mystery genomes, the researchers found that the translation genes seemed to have been picked up one by one over hundreds of millions of years.
This evidence supports the idea that viruses stole parts of their genomes, they say. It s possible, however, that Mimiviruses and Klosneuviruses originated in different ways, making both ideas on viral origins possible, says Frederik Schulz, a bioinformatician at the Joint Genome Institute and a co-author on the new study. Debating domains. ItвЂ s unclear which eukaryotic organisms donated their genes to the Klosneuvirus group.
And because they haven t identified the host, the researchers can t grow the virus yet. The viruses do not seem to infect the same type of amoeba as Mimivirus and other known giant viruses. Claverie points out that the majority of the KlosneuvirusesвЂ translation machinery does not match that of any other known organism. And he worries that the computational model used to infer the virusesвЂ ancestry could pick up leftover pieces of DNA in the sample, potentially contaminating the data.
вЂњI am waiting to see a real virus isolated with its host in a tube, before I would believe any of their evolutionary interpretations,вЂќ he says. David Moreira, an evolutionary biologist at the University of Paris South, doesnвЂ t think thatвЂ s necessary. He says that plenty of evolutionary work can be done on a genome alone, and he is glad to see more papers coming to the conclusion that viruses are not a fourth domain of life.
Mimivirus co-discover DidierВ Raoult, a microbiologist at Aix-Marseille University, says this latest discovery wonвЂ t settle the debate, but itвЂ s a nice find nevertheless. вЂњWeвЂ re finding a part of the world that has been completely ignored and need to be patient. Science 2992033 2003. Science 35682 85 2017. Related stories and links. From nature. Giant virus resurrected from 30,000-year-old ice.
Giant viruses open Pandora s box. The challenge of microbial diversity Out on a limb. Author information. Sara Reardon. Sara joined Nature in 2013 and writes about biomedical research and policy. She has previously written for New Scientist and Scienceand has a masterвЂ s degree in molecular biology from the University of Washington. Search for this author in. NPG journals PubMed Google Scholar.
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Additional delivery restrictions may apply due to the nature of some products. Delivery to certain postcodes may take longer than usual due to long transport distances. High ISO Compared Sony A7S vs. Sony s A7-series lineup has garnered quite a lot of interest amongst camera enthusiasts, striking an appealing balance between image quality and size. Canon EOS 5D III. Both the A7 and A7R bodies, as well as the native FE lenses Sony has recently introduced, are remarkably small and lightweight - especially when you consider the quality of images they re capable of producing.
The A7S is Sony s newest entry in its full-frame mirrorless lineup. But where the R in A7R stood for resolutionthe S in the 12MP A7S stands for sensitivity. Furthermore, with its full-sensor readout and 4K video capabilities, the A7S is as much a camera for video as it is a camera for stills. And let s face it there are very few videographers and photographers who wouldn t be thrilled by a camera offering higher sensitivity and impressive, low noise, high ISO performance.
Now, this purported increase in sensitivity comes at a cost in the face of cameras with ever-increasing megapixels, the A7S comes in at a rather paltry 12MP. Lower resolution and higher sensitivity are certainly not unheard of - the Canon 1DX and Nikon D4S both top out at relatively modest resolutions of 18 MP and 16MP, respectively though this is partly done in the name of speed. But is the resolution of a bygone era Canon EOS 5D anyone. a worthy tradeoff for the still image and video quality enhancements.
Sony certainly seems to think so. We just got our hands on an A7S, and have been busy putting it up against its competitors to see what advantages it offers and, quite frankly, to see if the claims regarding its low light performance are accurate. Particularly, some of us here have been curious as to whether not the increased ISO performance is significant enough to warrant the resolution tradeoff when the A7S is put up against its older sibling - the A7R.
Leaving aside video considerations such as simplifying full sensor readout for now, lower resolution sensors can increase pixel-level performance because bigger pixels capture more lightbut it s typically total light gathering area across the entire sensor that is a major determinant of ISO performance, all else being equal. So, to see whether the A7S offers anything beyond the pixel-level benefit its lower resolution would lead you to expect, the higher resolution image is normalized to the resolution of the lower resolution camera.
Ultimately, for the A7S to make sense to stills as well as video shooters, Sony s engineers need to have exploited some of the other advantages that well-designed larger pixels can potentially bring 1. The Shootout. We put the A7S up against the higher resolution A7R to see if the A7S offered any significant high ISO advantages over the A7R when the output of the A7R was downsized to that of the A7S.
Furthermore, we pitted the A7S against a professional DSLR not too far outside the price range of the A7S. And so, we bring you this real-world comparison between the Sony A7S, Sony A7R, and Canon EOS 5D Mark III. We waited until midnight to ensure minimal changes in ambient light during the course of our shoot summer days are long in Seattle.
We shot a night scene that included a range of tones from deep shadows to bright highlights to get a comprehensive idea of noise performance of these cameras at various ISOs. In order to level the playing field for all three the cameras we did a few things. Used the same lens Canon 24-70 f 4L IS for all cameras. A Metabones Smart Adapter III was used to fit the Canon lens on to the Sony bodies.
Aperture and shutter speed were matched across all cameras for any particular ISO setting. RAW files were converted in ACR 8. 5 to give relatively consistent rendering across cameras. This was done by manually selecting white balance per camera, and adjusting Shadow Tint as necessary at higher ISOs in order to avoid magenta-tinted blacks. Sharpening and noise reduction were left to ACR defaults Sharpening 25 Luminance NR 0 Color NR 25.
Do note, however, that 1 nobody in their right mind would boost high ISO JPEGs in this manner it s preferable to digitally boost Raws over JPEGsand 2 when we did boost the high ISO Raw files in ACR, significant noise resulted. Since the A7R and 5D Mark III don t offer ISO sensitivity settings above 25,600 and 102,400, respectively, these higher ISO shots were simulated by maxing out the ISO on each respective camera, adjusting shutter speed, and then digitally boosting exposure in ACR to aid comparisons against the higher ISOs of compared cameras.
This itself speaks to the value of the higher ISO modes on the A7S if you need them, that isbut also indicates that a more careful balancing act of noise reduction, sharpening, and exposure boosting would be more appropriate to obtain the simulated higher ISO values than by simple digital exposure boosting. Without further ado, let s get to the comparisons. Below and on the next page you ll find a variant of our typical studio scene widget.
Why make this resolution trade-off at all. Have a play with it further instructions after the widgetthen view some of our specific thoughts on the comparison on the next page. By default we ve set the widget below to compare the A7S vs A7R, but you can compare either camera to the Canon EOS 5D Mark III as well.
And, as always, all files are available for download if you would like to tinker yourself. The widget above and on the next page is a variant of our typical studio scene widget. At the top is a drop down menu that allows you to select Normalized 12 MP or Native Resolution. Native Resolution indicates that images retain the maximum resolution the camera is capable of, whereas for the normalized analysis, images were downsized to 12 MP using the bicubic resampling method.
As usual, we also have the FullPrintand Web buttons at the top right of the widget. Full will maintain whatever you ve selected in the top, center drop-down menu 12 MP for the normalized analysis, and full sensor resolution for the native resolution analysis. Remember that although the widget above starts with the Sony A7S pitted against the A7R, you can also compare the Canon 5D Mark III against either camera by selecting it in either drop-down menu.
Print will downsize all images to 8 MP, while Web downsizes all images to 5 MP. 1 For example, lowering cumulative sensor read noise, increasing effective sensor efficiency, and other factors that - to prevent this article sprawling - we won t elaborate upon further here. 1 Introduction Shootout 2 Our Thoughts Summary. Canon looks better up to 25000 iso, blacker blacks and whites not blown out.
Would be a more interesting test with the same lens ie. use an adaptor. I downloaded both the 5D3 and A7R high ISO raw files and post processed identically with DxO default standard plus prime noise reduction. First I compared the photos overall. Not much difference, maybe a slight difference in color cast with the Canon on the yellow side and Sony toward blue. Then I pixel peeped, taking 4x6 crops bounded by the edges of the saucer at the top of the space needle.
Both were noisy at this high level of magnification. At extreme closeup the Canon had a slightly larger noise grain structure while the Sony had more obvious purple violet color halos. I don t think that any of these microscopic differences are important limitations for the art of photography. Of courses, the lenses were different as well. cent percent agreed buddy. not much difference in these two cameras on IQ front.
chose the one that feel right to your hands and heart. For my eye, IMHO ISO nothing much of a different but the color is much more to observe, I prefer 5D Mark III color than 2 model from Sony e. The Multi Arch with Lights. But its good we have a lot of choices though. Any chance that we can see DPP process for both Canon and Sony Raw sample option too. good to see readers are getting to the point where they are not arguing over negligible differences.
Why is Sony s top camera compared to Canons number two. The 1D X is vastly better than the 5D III in most respects, particularly at high ISO. So why is not the 1D X included in the comparison. Per Inge Oestmoen, Norway. Perhaps it is due to the price point of each camera. Why compare a 5,300 dollar range body to a 2000 to 3000 range.
Doesn t make sense. Quite impressive but I would never be willing to give up all that resolution for better performance at iso s I would hardly ever, maybe never, use. I, on the other hand, would be quite the reverse. So it s good that Sony offer us choices for our tools. Firstly, really love the Widget you designed for comparison.
nice piece of work. Secondly, this only further substantiated my very positive feelings about the A7 lineup. To solomonshv. don t worry about the glass. Sony is on the warpath to offer a plethora of fast glass in the upcoming year. first, kudos to Sony. they are producing top end cameras in my opinion for most iq option zar account us, in these compact fullframe ILCs.
However, fullframe fast glass and in small sizes is still a challenge for Sony, for now and near future. Is there any chance that Sony will release mirorless cameras with stabilization in the body. I would then consider upgrading my Alpha 55. Using the Widget. now we got 2 a7 II and a7r II. now we got 3 a7 II, a7r II and a7s II. i would get the A7s in a heart beat if it weren t for the lack of glassware. i looked into the lens adapters to use my canon lenses and maybe buy a few nikon lenses, like the 85mm 1.
4G with the FF Sony cameras, but the ridiculously slow focusing with those adapters scares me away from moving to Sony mirrorless cameras. The sensitivity of the A7s is a great feature for flexibility when needed, but is it comparable to the others in more normal use. I appreciate the study and comparison of the 3 cameras in the extreme lighting conditions. I m confused by why DXOMark gives A7S a lower Dynamic Range score than A7R.
Is the performance at normal light levels worth talking about. Does A7S have worse DR than A7R at low iso but maintain more even DR at high iso. If file size and functionality not concerns, is there any reason to prefer A7S to A7R at iso under 6400. Yes, the A7S has noticeably less DR than the A7R at base ISO. Especially when you normalize downsize the A7R to 12MP resolution.
I suppose noticeably will depend on your application, but if you shoot sunrise sunset landscapes, you may very well notice it. The A7S is still a couple of stops better at base ISO DR than a Canon DSLR, but at least a stop worse than A7R, D800, etc. It does, however, maintain higher DR at higher ISOs. As to your last question, I d say the biggest reasons I can think of to consider the A7S over the A7R would be. Video features Lack of shutter shock, which hurts sharpness of A7R files at long focal lengths e.
with the 70-200 FE at certain shutter speeds Completely electronic shutter makes for very nice silent shooting; the A7R has an extremely loud shutter well, two shutter sounds when you take a photo. Although, the fully electronic shutter on the A7S comes at an additional DR cost - b c of extra noise in the shadows when enabled. Why was the A7 omitted. Some of the A7S photos are over exposed. If the A7S photos are overexposedthen so are iq option zar account the other ones as focal plane exposures were matched.
would have looked EVEN better properly exposed. Hence it doesn t make any difference for the comparative purpose intended. Particularly on those big tripod like things in the distance. Why is it people keep talking about the poor dynamic range of Canon s outdated sensors and are unable to use their eyes enough to see the DR of the 5D Mk3, particularly in terms of the highlights, is smoking the Sony. Those lights were turned off by the iq option zar account of Seattle by the time I got to the 5D Mark III.
The 5D Mark III has demonstrably lower low ISO DR than either Sony camera, though differences even out at higher ISOs. The A7S has higher ISO performance and higher DR than either camera at higher ISOs. Perhaps an article is in order that correlates DxO data with visual, real-world results to dispel this lingering belief that somehow entirely valid measurements can be disproved simply by using your own eyes. Then it s not much of a comparison image is it.
It happens to be the first part of the image that got magnified on my computer, I also note that other highlight areas lighted windows do not show demonstrably better DR in the highlight areas either. At least not on this sample. They are actually much of a muchness. Even the Seattle Tower light areas have a little more detail on the 5D. You guys shot the images. It is a comparison. It s just not a comparison of what you want it to be. This test was not designed as a DR test.
It was designed as a noise test. The 5D III cannot magically have more highlight detail b c of more DR. If it has any more highlight detail over the A7S, it ll likely be b c of a small increase in sensor efficiency on the A7S that makes the A7S overexpose a bit more easily since matched focal plane exposures were used.
Please don t misuse the contents of this article for a purpose it wasn t designed for, and then say it s not much of a comparison. It s not a DR comparison, it s a noise comparison between cameras receiving equivalent amounts of light at different ISOs. Seriously, there s no extra highlight detail in the 5DIII shots. If you see any other windows that show more detail, it s likely because the lights were shut off.
It s not how you do a DR test in any way. So please don t use it to make any judgement on DR. Rishi Sanyal You make good points. Pity they seem lost on the guy who wants to see what isn t there. It s not that there is MORE highlight detail, apart from that tower, which is a methodology issue. As evidenced by most of the windows and dark areas, I said there was no less shadow or highlight detail. Which you would expect with the differences in dynamic range so many bellyache about. The first function of cameras is to shoot photographs.
Not test charts. So, again, this is not a DR test. No one bellyaches about huge differences in dynamic range between these cameras at high ISOs, and there was no shadow push at low ISOs so, once again, I have no idea why you re talking about some attribute this particular test shows absolutely nothing about. You trying to talk about DR from this test is akin to drawing conclusions about the maximum speed of a car from a steering test.
They re completely orthogonal. Fanboyism simply blinds you to the truth and all the facts in the world won t change your mind. GaryJP, it hurts to see your favorite brand smoked by a Sony doesn t it. It would if I had a favourite brand. For the rest, grow up. I am a beginner here but this is what I noticed for the comparison b w canon 5dm3 and A7S. The yellow colors are somewhere the red colors are more richer in case of Canon 5dm3.
Also, some of the places A7S seems overexposed. where as 5dm3 managed it quite well. Thank you Rishu Sanyal I did notice the difference in highlights on the archs and wondered why the Sony highlights looked blown out while Canon showed details yet when I looked at other highlights, they all seemed to match. Now you ve said the city turned the lights off before you went to Canon. That made perfect sense. Again, great job.
Fantastic article and widget. There may be an A7S in my future. Yes but at ISO 100k the Sony kills it. I am impressed. With the Sony A 7 S, one can still recognize objects where the others show nothing than mud. A breakthrough. And I mean, who shoots below 100k ISO anymore. Compare it to serious high ISO cameras, not the A7r or the Canon 5DIII. you re funny. tell me what are the serious high iso camera, if A7R and 5D3 are not. Right, neither is the A7R nor the 5DIII is a serious high ISO body.
They re decent, but it s like claiming the Nikon D800 is a serious high ISO body. So plenty serious. Besides the obvious Sony A7S, there is the Canon 6D. Then there are the elephants in the room--all much bigger deals at high ISOs than the Canon 5DIII or the A7R. I suggest you get raws with deep shadows from all and extract those raws. At 25600 the A7r is similar for example slightly more noise but better detail, noise reduction should set them on par until that ISO.
Would I sell pictures apart from web sized shots above ISO 12800 or 25600. Nikon D4s is considered the high ISO leader, why not include that in the test. Probably because the D4s is very expensive. The Canon 1Dx is also not included. And the 1Dx is a significantly better high ISO camera than the Canon 5DIII. The real questions are why not the Nikon Df and the Canon 6D. The A7r does not do particularly good detail at ISO 25600. That point is real easy to verify. I ve seen comparisons with the D4s RAW elsewhere.
The Sony is noticeably better. No, the Sony A7S is not a better high ISO body than the D4s, nor is the A7r better. Above ISO 25,600 the A7S has typical cyan Sony and magenta banding in shadows. And I ve shot my own raws with all of them. The A7S has about the high ISO performance of the Canon 6D, so very good, not extraordinary in year 2014 terms.
The A7R can t match the high ISO performance of the Nikon D800, not a particularly great high ISO body. What ISO are you speaking of. Well on the default setting of Dpreview 25600 the 5D wins. Detail in highlights and retains colour and better tonal gradation. I was intending to get the Sony thinking it a step up for low light but Sony look to have thrown heavier software at the problem on first look.
Even at 6400iso the same can be seen, weak colour, no highlight detail and poor gradation, I was hoping for better from the Sony I think I ll stick with the 1Dx for low light. Download the 25600 ISO raws, and extract with luminance set to zero, then look at boom crane in night sky at right. The A7S is a better high ISO camera than the 5DIII. With the Sony A7s there s less grain, and details blurry in the Canon s raw are clearer in the Sony s raws.
Why don t you try the above test. Anyhow the Canon 6D is also a better high ISO body than the 5DIII. And the 5DIII is considered by no one to be Canon s best high ISO camera--that s the 1DX. While the Sony A7s is likely Sony s best high ISO camera. He is right - the Sony really is the best when you download the file s. The 5DIII has bit more cyan and magenta banding at that ISO than the Sony.
The best at all iso settings. They are extended settings only available through a menu. Canon makes it clear that the highest 2 ISO settings are different. I believe this means that they are amplifying the extra 2x or 4x by software after digitisation, effectively moving up from bits 0. It seems impossible to obtain confirmation of this but it is very important to me as an astrophotographer. If it is as I described then the highest 2 ISO settings are doing nothing useful for me.
I cannot reduce my exposure times in the expectation that I will still get more useful data. Equally importantly for your comparison are Sony doing the same thing but not making it clear. Is anyone here able to confirm or refute my suppositions. Hi grelf, I am curious too about the expandable ISO in the A7. I suspect sony is moving bits from 0-13 more likely to 9-15 when at 25600. Until then, from my own perception so far Nex5 was best at iso 3200. Thus, I hope that A7r coul be good for Astro.
Just considering the missing AA filter and better yet, cropping instead of using a Barlow on small objects. I also suspect that using bias files short dark exposure file containing ADC read noise will greatly reduce the a7s advantage over a7r. I use a canon 6D with a Baader filter and somehow, I suspect that a7r crop 6D Barlow, if you are not shooting Andromeda or bigger objects.
Ah yes, I like sony more than other cameras for astro stuff but am no fanboy, Interested only in results. Coming from the old analogue school i do not see the need of these high iso values. Even noise is not obvious at Iso 1600 for the A99 and not problematic until you set an Iso above 6400, I am just happy using the camera s highest and workable performance setting iso 1600.
When higher shutter speeds are needed to shoot a performance like ballet or dance at low light and you would like to retain some DOF or sharpness by not opening the lens fullyevery improvements in high iso noise are welcome. The A99 is not a serious high ISO camera. It s quiet, and some of those better SonyZeiss lenses help, but it s not in the same league as this A7s or say the Canon 6D--and then there are even better high ISO bodies.
When full compairison between A99 and A 7 a7r A7s.
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