With an average "delta-C" color error of 5. Hue is "what color" the color is. Saturation Adjustment The Sony A58 has a total of seven saturation settings available, three above and three below the default saturation. This covers a pretty wide range of saturation levels. Saturation also had almost no effect on contrast, which is how it should work. The table above shows results with five of the seven saturation settings, including the default and the two extremes.
Click on any thumbnail above, then click again to see the full-sized image. Indoors, incandescent lighting Slightly warm casts with Auto and Incandescent, good with Manual, and a touch cool with Kelvin white balance settings. Average exposure compensation required.
Indoors, under normal incandescent lighting, color balance is a bit warm and orange with the Auto white balance setting, though results here are slightly better than average.
The Manual setting is quite accurate, just slightly on the cool side. The 2, Kelvin setting which should match the color temperature of our lights is too cool and bluish.
Our test lighting for this shot is a mixture of 60 and watt household incandescent bulbs, a pretty yellow light source, but a very common one in typical home settings here in the U. Outdoors, daylight Very good results under harsh lighting, with good handling of contrast, color, and exposure.
Outdoors, the Sony A58 performed very well. No exposure compensation was required to keep the mannequin's face reasonably bright in our "Sunlit" Portrait shot, which is much better than average among the cameras we've tested. Contrast is a little high as you might expect under such harsh lighting, but the camera does a good job of holding onto detail in both the shadows and bright highlights, even without the help of DRO see below.
Both Auto and Manual while balance produced decent skintones, with lighter tones slightly pinkish while darker ones slightly warm, with a slight orange tint. Default exposure is quite good for our Far-field shot as well, just a touch underexposed but with very few highlights blown, again with DRO disabled. The Far-field shot with Auto white balance has very good color, just a touch on the cool side. Overall, a very good performance in harsh lighting, especially considering DRO was off for these shots.
See full set of test images with explanations See thumbnails of all test and gallery images. In-camera JPEGs of our laboratory resolution chart reveal sharp, distinct line patterns down to about 2, lines per picture height in both the horizontal and vertical directions.
Some may argue for higher numbers, but aliasing and sharpening artifacts start to interfere at this resolution. Complete extinction of the pattern doesn't occur until about 3, lines. Use these numbers to compare with other cameras of similar resolution, or use them to see just what higher resolution can mean in terms of potential detail.
Mild to moderate noise suppression visible in the shadows and areas of low contrast. There are some minor edge enhancement artifacts seen around high-contrast elements such as sharpening halos around the larger tree branches and pine cones, but they're not excessive and quite normal. Fine detail such as the smaller branches and pine needles show very little edge enhancement, but appear a little mushy due to noise reduction.
Edge enhancement creates the illusion of sharpness by enhancing colors and tones right at the edge of a rapid transition in color or tone. The crop above right shows mild to moderate noise suppression in the darker areas of the model's hair. A number of low-contrast strands are smudged together, though higher contrast strands are still distinct.
We saw similar results with fine detail in the pine needles being flattened a bit. Still, pretty good results here, especially for a high-resolution APS-C sensor.
We did however notice some demosaicing errors in the form of blue or green pixels that look like chroma noise in the hair, as well as hints of the " jaggies ," a type of aliasing artifact. This implies the A58 has a fairly weak optical low-pass filter, but you have to look pretty closely to spot them. Noise-suppression systems in digital cameras tend to flatten-out detail in areas of subtle contrast.
The effects can often be seen in shots of human hair, where the individual strands are lost and an almost "watercolor" look appears. Quite a bit more detail can often be obtained from carefully processing RAW files with a good converter, as can be seen below. In the table above, mousing over a link at the bottom will load the corresponding crop in the area above, and clicking on the link will load the full resolution image.
As you can see, the Sony IDC version at default settings has somewhat better detail and slightly different color the in-camera JPEG, though sharpening artifacts are a little more prominent. You can always turn up the luminance noise reduction default of zero was used here , or process the files in your favorite noise reduction program or plugin if you want cleaner images. Bottom line: as is usually the case, the Sony A58 rewards RAW shooters with improved detail and much better control over the final image when processed with a good converter.
There are demosaicing errors in the hair above the mannequin's forehead, though that's pretty common these days, especially with a sharp lens. Stronger noise reduction at ISO removes much of the colored pixels with just a slight increase in smudging, though the aliasing artifacts mentioned earlier are still visible.
ISO 1, is slightly softer though detail is still very good, and the aliasing artifacts have practically vanished. ISO 3, is noticeably softer with stronger smudging and more noticeable noise "grain", but detail is still pretty good for the sensitivity. Image quality goes down rapidly from there, though. ISO 6, still shows some fine detail, but 12, and especially 16, suffer from much stronger blurring and more noticeable luma noise accentuated by the camera's sharpening. Chroma noise is also stronger at these high ISOs, producing blotchy purple and yellow patches.
Overall, though, these are very good results especially considering the A58's price point and resolution. To insure that the hair detail we use for making critical judgements about camera noise processing and detail rendering is in sharp focus at the relatively wide aperture we're shooting at, the focus target at the center of the scene is on a movable stand. This lets us compensate for front- or back-focus by different camera bodies, even those that lack micro-focus adjustments.
This does mean, though, that the focus target itself may appear soft or slightly out of focus for bodies that front- or back-focused with the reference lens. We know this; if you click to view the full-size image for one of these shots and notice that the focus target is fuzzy, you don't need to email and tell us.
Extremes: Sunlit, dynamic range and low light tests Very high resolution with very good highlight and shadow detail. Good low-light performance, capable of capturing bright images in near darkness, though AF struggled at lower light levels.
The Sony A58 handled the deliberately harsh lighting in the test above very well. We preferred the default 0 EV exposure here as the face is reasonably bright while almost no highlights were clipped in the white shirt.
It's really up to the photographer. As mentioned previously, contrast is a little high, but highlight detail is very good at default exposure. There are some deep shadows however they contain good detail, though very deep shadows are posterized. However, that's not really an issue except perhaps for those trying to recover a severely underexposed image.
For best results, be sure to use fill flash in situations like the one shown above; it's better to shoot in the shade when possible. Because digital cameras are more like slide film than negative film in that they tend to have a more limited tonal range , we test them in the harshest situations to see how they handle scenes with bright highlights and dark shadows, as well as what kind of sensitivity they have in low light.
The shot above is designed to mimic the very harsh, contrasty effect of direct noonday sunlight, a very tough challenge for most digital cameras. You can read details of this test here. In actual shooting conditions, be sure to use fill flash in situations like the one shown here; it's better to shoot in open shade whenever possible. Dynamic Range Analysis A key parameter in a digital camera is its Dynamic Range, the range of brightness that can be faithfully recorded.
At the upper end of the tonal scale, dynamic range is dictated by the point at which the RGB data "saturates" at values of , , At the lower end of the tonal scale, dynamic range is determined by the point at which there ceases to be any useful difference between adjacent tonal steps. Note the use of the qualifier "useful" in there: While it's tempting to evaluate dynamic range as the maximum number of tonal steps that can be discerned at all, that measure of dynamic range has very little relevance to real-world photography.
What we care about as photographers is how much detail we can pull out of the shadows before image noise becomes too objectionable. This, of course, is a very subjective matter, and will vary with the application and even the subject matter in question. Noise will be much more visible in subjects with large areas of flat tints and subtle shading than it would in subjects with strong, highly contrasting surface texture.
What makes most sense then, is to specify useful dynamic range in terms of the point at which image noise reaches some agreed-upon threshold. To this end, Imatest computes a number of different dynamic range measurements, based on a variety of image noise thresholds. The noise thresholds are specified in terms of f-stops of equivalent luminance variation in the final image file, and dynamic range is computed for noise thresholds of 1.
For most photographers and most applications, the noise thresholds of 0. The graph at right click for a larger version was generated using Imatest's dynamic range analysis for an in-camera Sony A58 JPEG file with a nominally-exposed density step target Stouffer Roll-off at the highlight end of the curve is gradual, and the low end extends fairly linearly, but the steps get rather spread out, indicative of a tendency of the deepest shadows to break up into discrete levels posterization if you try to brighten them too much.
These are good results for in-camera JPEGs from a consumer model. The graph at right is from the same Stouffer stepchart image captured as a RAW. Again, these dynamic range scores are pretty good, but not quite as good as some leading competitors. Compared to the Nikon D, the A58 scored lower in total dynamic range It's worth noting here is that ACR's default noise reduction settings reduced overall noise somewhat see the plot in the lower left-hand corner relative to the levels in the in-camera JPEG, which would tend to boost the dynamic range numbers for the High Quality threshold.
Also, the extreme highlight recovery being performed by ACR here would likely produce color errors in strong highlights of natural subjects. Contrast Adjustment We really like it when a camera gives us the ability to adjust contrast and saturation to our liking.
It's even better when those adjustments cover a useful range, in steps small enough to allow for precise tweaks. Just as with its saturation adjustment, the Sony A58's contrast setting meets both challenges.
At its lowest contrast setting, the A58 does a really excellent job of toning down highlights and opening up shadows while maintaining natural-looking skin tones. Very good results here. The table above shows five of the seven contrast setting, including the default and two extremes. It's pretty hard to evaluate small differences in contrast on small thumbnails like these, so click on any thumbnail to go to the full-size image.
One very nice feature of Sony's contrast adjustment is that it has very little effect on color saturation. Contrast and saturation are actually fairly closely coupled, it's a good trick to be able to vary one with out the other changing as well. As usual, Sony did a good job here. Dynamic Range Optimization is Sony's name for their dynamic range enhancement technology. DRO divides the image into small areas, analyzes the range of brightness of each area, and adjusts the camera's image processing parameters accordingly to make the best use of the available dynamic range.
DRO does not boost ISO like some systems, so increased noise is less of an issue, though existing noise may be more visible in raised shadows. You can also set the level manually, from 1 "weak" to 5 "strong" , or turn it off. The above thumbnails and histograms show the effects of the available levels of DRO on our "Sunlit" Portrait shot with no exposure compensation. Mouse over the links to load the associated thumbnail and histogram, and click on the links to visit the full resolution image.
As you can see from the thumbnails and associated histograms, DRO boosts shadows and mid-tones without blowing additional highlights, yielding a more balance exposure.
Auto DRO setting did a good job here, and the five manual levels give quite a bit of control over the effect. This software is optimized for modern CPUs, provides color management and ICC profiles, supports film negatives and monochrome cameras, and allows you to rate your images and edit metadata. It allows you to see main histograms and RAW histograms the camera shows you the JPEG histogram, which is the histogram created after the highlights and darks were clipped by compression.
Using the Focus Mask, you can see the areas of an image that are sharp and in focus. Then you can decide which adjustments to make, such as to exposure, details, and color. It allows you to enhance and retouch images as well as create fine art. Affinity Photo provides full RAW development. Among its best features are lens correction, exposure and white balance adjustment, noise reduction, hot pixel removal, and EXIF editing.
Affinity Photo works with layers and has amazing image composition tools such as mask and clipping layers, layer effects, vector and text tools, and blending modes. It also includes a large library of brushes. You can also use it for stitching photos and creating panoramas, compositing HDR images, and making complicated selections. Adobe Lightroom is one of the most famous photo editors. Lightroom is famous for its photo organization features, compatibility with Adobe software, and one-click tools that transform your images in seconds.
It allows you to enhance colors, remove objects, perform geometric transformations, and work only on specific areas of an image. It also stores everything in the cloud, giving you a powerful backup and allowing you to access your pictures from different devices.
Note: Capture One also provides a full version of Capture One Pro that works with files from many cameras by Sony and other manufacturers. Capture One Pro provides photo organizing and editing tools, a customizable interface, and fast importing and exporting of files in various formats. Being exclusive Sony editing software, Capture One Pro for Sony guarantees accurate color profiles and realistic colors.
Capture One allows you to work with layers and masks, use custom lens profiles for natural colors and sharp details, and shoot directly to your computer.
RAW Viewer allows you to play back files, edit metadata, flip images, see histograms and waveforms, control exposure, color temperature, tone, and color balance, and generate different video formats. DxO PhotoLab provides customized profiles that correct for the optical flaws of equipment. Among its best features are optical corrections, local adjustments with U Point technology, efficient and harmless denoising technology, and the possibility to switch between manual and automatic modes.
DxO PhotoLab can help you with photo management, too, through its new Photolibrary feature. It offers RAW camera profiles and an automatic mechanism that sends you notifications when new profiles are added. AfterShot Pro performs lens correction, removes spots and blemishes, recovers highlights using data from RAW files, and reduces noise. Among its features are basic adjustments, selective editing, HDR editing, red eye removal, and an image presets library.
It can be used as an Extension to Apple Photos or as a standalone application. RAW Power has extensive camera support , including for many Sony camera models. It also gives you access to iCloud Photo Library and the possibility to back up your photos and access them from different devices.
RAW Power is a great photo management tools and allows for multiple file browsing, batch processing, metadata editing, various viewing panels, and searching. It has different versions for Mac and Windows, and each has its own list of compatible Sony camera models.
Dedicated to professional photographers, this software provides support for a large range of Sony camera models. It has many attractive features for creative editing, but it also offers image retouching and enhancing tools. They allow you to quickly fix problems while considering image content. PhotoDirector offers content-aware removal and cloning, color replacement, filters for image enhancement, and many more features.
It also allows you to extract photos from videos, use frames and clip art packs, edit degree images, and use a wide collection of plugins and effects. Sony fans have many interesting RAW conversion options, from free RAW converters to sophisticated professional photo editors. Because the market for Sony RAW software is relatively new and rapidly changing, check the list of compatible cameras before buying a new RAW converter.
Make sure your camera and lens es are supported. Also, check the system requirements, as some photo editors require a powerful computer and the latest operating system. Use Aurora HDR for free for 14 days. Please check your inbox. We've sent you a copy via email. This is sad. Please resubscribe here. Thank you for downloading Aurora HDR. Did your download not start? Dont worry, just click here to try again. Something went wrong. Don't worry, just click here to try again. Step 1. Step 2.
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