Sony DSLR-A230 Review

Overview

Sony A230 Overview

Reviewed by Shawn Barnett, Dave Etchells, and Zig Weidelich
Preview Posted: 05/18/09
Review Posted: 10/31/09

Bucking the trend toward greater complexity and higher resolution, Sony has revamped their consumer digital SLR line with a new focus on even greater simplicity, lower-cost cameras, and more affordable beginner optics. Indeed, the three new SLRs, the Sony A230, A330, and A380 share more specifications in common with their predecessors than they do differences, with the main changes occurring in the size, weight, and shape categories.

Resolution for all three bodies is unchanged. The Sony A230 and A330 both have a 10.2-megapixel sensor, and the A380 has a 14.2-megapixel sensor.

The Sony A230's new body design features fewer buttons to avoid confusing the user, and a few tweaks to the Function menu and the Status display. All three cameras are also bundled with a new 18-55mm lens to replace the 18-70mm lens previously used as a kit lens. The new lens design is shorter and lighter, and is the first of the company's new SAM lens line. Standing for Smooth Autofocus Motor, the new electronically linked lenses are designed to be less expensive than Sony's current offerings, while still offering high optical quality.

The Sony A230 includes support for both Memory Stick Duo and Secure Digital cards, with a manual switch to select between the two. Gone is support for CompactFlash, as is now true for most consumer SLRs.

A new Help system joins the improved DRO brought over from the A900 and the Sony A230 and its new brothers have the SteadyShot Inside feature. There are a number of other feature improvements in the Sony A230, including bigger AF points, a new self-timer mode, and even a new optional flash, all of which we'll get to in the User Report below.

The Sony A230 started shipping in June 2009, initially priced at $549 with the 18-55mm kit lens, and $749 with the 18-55mm and 55-200mm lenses, covering an 11x zoom range. Be sure to check prices by clicking on the links above right and in the shopping pods below for the latest prices on the Sony A230!

Note: Because these three cameras -- the Sony A230, A330, and A380 are so similar, each of their reviews is a slight rewrite of the other. All test and gallery shots, however, are from each camera. Oddly enough, it turns out that they're each pretty unique in their color rendering, autofocus abilities, and a few other aspects. Of the three, we found the Sony A330 to be the best overall choice.

Sony A230 User Report

by Shawn Barnett

It's been just over a year since Sony shipped their last trio of consumer Alpha digital SLR cameras, the A200, A300, and A350, and already they've revamped the line with a new external design and a greater emphasis on economical features and accessories. The revamped models are the Sony A230, A330, and A380.

Company representatives told us that extensive focus-group research revealed that people wanted simpler SLRs that didn't cost too much, and were lighter and easier to bring along. And among those who bought an SLR, many expressed a desire to buy at least one additional lens for their fancy interchangeable-lens digital camera, but few ever made the purchase, largely due to cost.

These studies clearly had an effect on the company's plans for their consumer digital SLR line, because the new cameras reflect significant change in the areas of weight, size, and simplicity, while the internal specifications remain mostly the same. Company representatives also noted that nearly each item in the cameras was redesigned to improve efficiency and reduce weight, and though the sensors are indeed the same, the new Alphas include a new image processing system.

Revamped: Side-by-side, it's easy to see how the new small Alpha body and lens are different from the old, largely Konica-Minolta-based Alphas (the A380 is pictured, and the A230 is a little slimmer front to back). The grip is smaller, the lens shorter in both size and focal length, and the shutter button is further back on the camera's top deck.

Competitive: Sony has achieved their goal of making the new Alphas smaller and lighter than their predecessors, though they are not significantly smaller or lighter than the competition. Fortunately for Sony, Canon and Nikon's latest consumer SLRs have gotten taller, so the Sony Alphas look shorter overall, and the new lens brings the camera's length front-to-back closer to the Canon T1i.

Look and feel. The bargain model among Sony's consumer line, the Alpha A230 weighs about 1.4 ounces (40g) less than the A330 and A380, at 15.9 ounces (452g) with lens, but without battery or card. The weight is well-balanced, partly thanks to the new lens, but the bodies feel somewhat hollow compared to other digital SLRs in this class.

Much of the weight reduction is due to the significantly trimmed grip on the Sony A230, a smaller Lithium-ion battery, and of course the lack of all the hardware associated with the articulating screen mechanism. Unlike most SLR grips, the Sony A230's stops well short of the camera's shutter release, and the shutter button now appears on the camera's top deck. Everyone on the staff disliked this new design; everyone, that is, but me, and I only accept it because you can easily adjust your grip by balancing the camera's base into the palm of your hand, which puts your index finger in better position to reach the grip, while your pinkie and ring fingers curl around the grip. After a bit of use with one of the heavier Sony lenses, like the Carl Zeiss 24-70 f/2.8 lens, though, I can tell you it puts a strain on these latter two fingers, and makes you miss the rest of the grip. If you don't hold the Sony A230 as I outline above, getting your index finger up to the shutter button is a strain.

It seems Sony was aiming for a more retro look with this design, harking back to gripless film SLRs of days gone by, with their metallic tops and leather-covered bodies. The look is appealing once you get used to it, and those who use a camera strap and the new light SAM lenses will hardly notice the smaller grip.

The grip surface of the Sony A230 has a leather-like texture.

The Control dial now faces forward, just beneath the Sony A230's Shutter release button. The lens release button and AF/MF switch are in the same positions relative to past models. The Sony A230's Alpha logo is now smaller, embossed into the gunmetal-colored top of the two-toned body design. Above that, the mode dial is partially concealed, recessed into the top deck to reduce the chance of accidental activation.

There is still no depth-of-field preview button on the Sony A230.

The Sony A230's new shorter kit lens includes a bayonet mount for a lens hood, but Sony did not include a lens hood in the samples we received. The mode dial is only accessible from the rear and left side of the Sony A230. Sony moved the Power switch from the rear left of the camera's back to a better position surrounding the Shutter release button, a method also used by Nikon and Pentax on their SLRs. Gone is the flash activation button to the left of the lens mount, where it appears on most other digital SLRs. Sony said too many customers never thought to look there, so they've moved it to the Sony A230's rear navigation disk. It's a little more cumbersome to activate now: you have to press the flash button (the right side of the nav disk), then use the up and down arrows to select an active flash mode. Then, once you half-press the shutter release, the flash will pop up.

Note also the substantial thumb grip, which really does help when holding the Sony A230 as I've described.

What also helps your grip is the soft taper Sony applied to the bottom right of the Sony A230, which makes resting the camera in your palm more comfortable.

The back of the Sony A230 shows just how far Sony has gone toward simplifying the interface of the camera. The Display, Drive mode, ISO, and Flash buttons are now integrated into the four-way navigator, and the AE-Lock button no longer exists. That's a clear sign that these cameras are aimed at consumers. Also missing, if you've seen the back of the A330 and A380, is the articulating LCD screen. That knocks quite a bit off the price, it turns out.

The rubber eyecup looks more integrated into the body, but it's still removable like any other eyecup, with an upward tug. The infrared sensor is also still in play, offering both the option to turn off the display when you bring the Sony A230 to your eye, as well as to start up autofocus before you even press the shutter button.

The card write lamp now juts out left of the LCD. Though it's an odd position, it beats being under the thumb, as it was on the A200; and it's closer to the card itself, which is now on the left side.

Ports. All but the power port on the Sony A230 are on the camera's left side, including the HDMI Out and USB ports, as well as the SD and Memory Stick HG Duo card slots. Note also the Memory Stick/SD switch, a manual-only switching method. The whole array is concealed by a sliding pocket door that ducks down and slips inside the Sony A230's body.

Having the memory card slots on the left makes inserting and removing cards a little easier, because you don't have to let go of the Sony A230's grip to make the change, as you do on nearly every other digital SLR on the market. The choice of a pocket door also makes using the video and USB port much easier, thanks to the lack of a rubber door. It's also worth considering, though, that the door is not weather-sealed.

On the Sony A230's right is another port door, covering the DC-IN port. It's much more difficult to open than the pocket door, being of the rubber variety. Note also the camera strap lug, recessed so that it doesn't stick into the palm of your hand.

Viewfinder. Optical viewfinders are usually preferable on most digital SLRs, but the Sony Alpha series has had its shortcomings, most notably it's difficult-to-see AF points. I've always liked how they were angled to match the orientation of each autofocus sensor, but that also made them harder to see in some situations.

Sony has replaced them in the new SLRs, though, with larger round dots. The array is the same, but the visual effect is quite different, and it's now easier to see each point illuminate to indicate the in-focus areas.

Because of the secondary live-view sensor, the Sony A380 and A330's viewfinder magnification is smaller than the A230's: 0.74x vs 0.83x, respectively, so you get a bigger optical viewfinder image with the Sony A230 than you do with the more expensive models.

Sony A230 Interface

Menu. The Sony A230's menu is very easy to use, functioning like a tabbed menu and a scrolling menu. When you get to the bottom of the first tab's list, it automatically switches to the top of the next tab. This design makes it easy to scan through the items looking for what you need. If you see that a given tab isn't what you need, regardless of where you are in the list, you can press the left or right arrow to move between tabs. It's a little confusing if you've been using a Nikon, where pressing the right arrow often selects a menu item, but it's not hard to get used to using the center button instead.

Function Menu and Help Guide display. Pressing the Sony A230's Fn (Function) button brings up a simple menu for adjusting most of the important items in both Record mode and Playback. Just use the Arrow pad to navigate to the desired option and press the center button to select your mode. If you stay on a given item for a moment, a plain-text explanation of each item pops up.

Likewise, as you turn the Mode dial, an onscreen display wheel appears on the left, with text and a sample image to explain each mode. The Help Guide display can be disabled in Setup menu 1.

Status display modes. Sony has also added several display modes to the Status display. In addition to the standard display, which includes a large selection of camera settings, the Sony A230 has a simplified version, available when in full Auto modes, giving you only the small amount of information you need. (Screenshots at right were taken from the HDMI output, so they appear different from some of the others here.)

A new graphical display on the Sony A230 attempts to illustrate how moving in either direction on the shutter speed or aperture scale will affect your images, with a scale that changes in size from large to small as you move from long and large settings to shorter and smaller settings, respectively. You can also change screen colors. Finally, when you turn the Sony A230, the display rotates with it, re-orienting the entire arrangement (not shown).

Sony A230 Lens options

The Sony A230 is compatible with an array of new Sony lenses, and also with all Maxxum and Alpha lenses.

Twenty-six, plus two, plus four. Sony Alpha cameras are backed up by 26 current lenses, plus two teleconverters. This photo doesn't include the four new lenses announced with these cameras, three of which appear below.

The three, plus yet another. Sony has announced four new lenses, labeled SAM for their Smooth Autofocus Motor. They're marked with a silver band around the barrel. Only three of the lenses are new: the 18-55mm f/3.5-5.6 ($200) and the 50mm f/1.8 (expected to retail for $150); the 55-200mm f/4-5.6 ($230) is a re-release of an older lens. Not pictured is the 30mm Macro lens.

Accessories. Sony has also continued to expand their accessory offerings for the Alpha line, with new cases, wraps, lens bags, grip straps, a flash, an LCD cover, and an LCD shade.

New Alpha accessories.

Our favorite accessory is the new small flash, which lays flat across the camera top for easy storage, and powers on when flipped up. The flash head inside the unit turns to face upward for bounce shots, and a diffuser pivots into place for wider shots. Called the HVL-F20AM, the new flash retails for $129, and uses two AAA batteries to keep the weight down. The Sony Alpha cameras have full control of the flash for through-the-lens exposure.

Another good idea is the thick cloth wrap with a shock cord that protects the Sony A230 while it's in a bag. Just lay the camera in the cloth with the lens facing the corner with the shock cord, and start folding the rear and side corners in. Finish with the shock cord, and wrap it around the back, under the body and stretch it around the lens. Viola! A protected camera. I think I'll buy several of these to protect review cameras, as well as my own personal cameras.

The lens cap pocket seems a little fastidious to me, but it's not a bad idea if you like a place for everything and everything in its place. The handstrap is probably the most important new accessory, given the Sony A230's minimized front grip. It's quite similar to a camcorder handstrap, with a soft, spongy fabric against the back of your hand; the only bit I don't like is the large mounting block that screws into the tripod socket on the bottom, which makes the Sony A230 a little less stable when placing the camera on a flat surface.

Missing from the accessory list for the new cameras is any mention of a battery grip, and there are no additional contacts up inside the battery compartment. That's unfortunate, because battery life from the internal battery has dropped compared to the Sony A200, due to a new, smaller NP-FH50 battery pack. CIPA rating for the Sony A230 is 510 shots. That's down significantly from the A200's 750 shots.

Shooting with the Sony A230

Good color. Not oversaturated.

After spending a little time with all three of Sony's consumer Alphas, I was more impressed with the pictures than I was with the user experience. It's not that it was a bad experience, there were just a few nuisances that bothered me; otherwise all three cameras were very easy companions. There's a lot I like about the Sony A230 from a design perspective, like the recessed Mode dial, the power switch surrounding the shutter button, and the fairly simple button layout. And the card/connector door on the left side is inspired. Overall it's a simple camera to use.

But getting the flash activated is about as cumbersome as I've ever seen, and Menu and AV buttons are mounted on the slant between the back panel and top deck, requiring you to adjust your hold completely and use your right or left index finger to activate them.

Though I do appreciate the light weight of all three cameras, they also feel hollow and plastic, not the more rock-solid feel I'm used to from other digital SLRs in this class. The shutter sound is at least quiet, and the shutter button breaks crisply, so you can learn when it's about to go off.

Telephoto. The Sony 55-200mm vignettes a fair bit at 200mm, and there's a little lens flare, but it's not bad for an inexpensive lens. I was surprised by the sharpness of my soccer shots.

The grip is just fine once you learn to rest the right side of Sony A230 in your right palm and wrap your last two fingers around the grip. Fine, that is, with the reasonably lightweight 18-55 and 55-200mm kit lenses. Snick on something heavier, and you'll quickly be looking around for a monopod to support the imbalanced combination. So if you're thinking of one of those nice Carl Zeiss optics, check out the Sony A500 or A550.

I shot a little soccer with the camera, and its maximum framerate of 2.4 frames per second was too slow for the job. It's amazing how much slower 2.4 is than the 5 and 8 fps I'm used to shooting. You can't get even the same formation as kids move across the field at that speed, and these are five-year-old kids. The camera just wasn't built for that, and you won't really find much better performance at the competition's 3 fps, so let's just say that these cameras really aren't meant for sports photography. You can do anything if you're good, of course, and have or develop excellent timing, but if you're looking to catch the right moment by holding down the shutter, you'll be disappointed.

Autofocus did fairly well tracking my soccer subjects. There were a few blurry moments, where the camera focused on the background, but surprisingly few compared to some cameras I've used.

Wide. At 20mm, the 18-55mm lens shows some geometric distortion, but the corners are reasonably sharp. This is the good copy of the kit lens, though, the two others we had were not quite as nice.

I found the autofocus system to be reasonably good at getting the AF point right in most of my shots, but we didn't have as much luck in the lab, where a few targets had to be reshot over and again to get the focus set properly.

Most of my shooting around town was easy and relatively predictable. I like the menus and general ease of the Sony Alphas. They just work and get out of your way. The menus are straightforward, tabbed designs that work just a little differently than some, but though they're tabbed, they also wrap around to the next tab once you get to the bottom of the first; it functions like one long menu.

Regardless of your mode, the Sony A230 is easy to shoot with. Once or twice I missed the Live view mode, like when I wanted to shoot from an odd angle, but I generally prefer the optical viewfinder anyway, so I was fine with the Sony A230.

Eye-start AF, while a smart feature that turns on the autofocus system as you bring the camera to your eye, just wastes battery when I use the camera, because I either hold it in my right hand or switch from left to right, which keeps the lens buzzing to life all the time. Thankfully you can turn it off.

I'm happy that they changed the AF points inside the viewfinder, because they're much easier to see. They used to tell you something about the orientation of the outer points, which was technically helpful, but they were harder to see. When you're trying to compose an image, nothing's more important than positive confirmation of focus before you press the shutter.

The new 18-55mm kit lens is a closer match to the competition's lens, and reduces the overall length of the Sony A230 when compared to the old kit with the 18-70mm lens, but I do miss the optical quality of the older lens. We got three different copies of the 18-55mm lens, and one stood out with better performance in the corners and the center, so naturally I shot with that one.

Ultimately, I think the Sony A230 is a pretty good starter digital SLR, but only some of the changes made it better than the A200; others removed some utility. I'd rather have a flash popup button and a more traditional grip, for example.

Image Quality

Most digital SLRs will produce a reasonable ISO 100 shot, so I like to push them and see what they can do at ISO 1,600 with the extra noise reduction off. Recent advances in sensor technology and noise reduction have made ISO 1,600 look a lot more like ISO 100, but there are still cameras whose quality starts to fall apart at this setting. I also chose 1,600 because I like to be able to shoot at this level when indoors and at night, and I prefer to do my noise reduction on the computer.

Sony A230 versus Canon XS at ISO 1,600

Sony A230 at ISO 1,600	Canon XS at ISO 1,600
The Sony A230 has trouble with overaggressive noise reduction starting at ISO 800, so it's no surprise to see that it's a little softer than the 10-megapixel Canon XS at ISO 1,600. Despite its efforts, the Sony A230 still shows quite a bit of chroma noise, especially in the dark areas and shadows. The Canon takes a less aggressive approach, resulting in greater detail overall.

Sony A230 versus Nikon D3000 at ISO 1,600

Sony A230 at ISO 1,600	Nikon D3000 at ISO 1,600
The Nikon D3000, another 10-megapixel digital SLR, eliminates most chroma noise, but leaves a lot of luminance noise in the shadows. It also doesn't sharpen as much as the A230, makes an unusual difference in the Mas Portel bottle's label. The Sony A230's saturation is a little more controlled than the D3000 as well.

Sony A230 versus Sony A380 at ISO 1,600

Sony A230 at ISO 1,600	Sony A380 at ISO 1,600
Comparing the Sony A230 to the 14.1-megapixel A380 reveals some interesting information. Though the A380 technically records more data per image, the overall quality isn't that much better. In fact, some of the data, like the red swatch, has less of the original detail thanks to overactive noise suppression in the red channel. In the shadows and darker areas, the A380 may do a little better suppressing chroma noise, but the detail in color areas is not so much better that you couldn't get the same result by simply raising the resolution of the A230's images, at least at ISO 1,600.

Detail: Sony A230 vs Canon XS, Nikon D3000, and Sony A380

Sony A230 ISO 100 ISO 3,200 10mp	Canon XS ISO 100 ISO 1,600 10mp	Nikon D3000 ISO 100 ISO 3,200 10mp	Sony A380 ISO 100 ISO 3,200 14mp
Detail comparison. An ISO 1,600 comparison is only so helpful; a camera's ISO 100 performance is also of value, as is its ISO 3,200 detail, so I've pitted the same set of cameras against each other in the high-contrast detail department. At ISO 100, the Canon XS is significantly sharper among the 10-megapixel cameras; it also has more sharpening artifacts, with a noticeable halo around the black and red letters in this crop. Of the three, though, the Sony A230 comes closest to rendering the horizontal lines inside the large letters. Naturally the 14-megapixel A380 does better at ISO 100 than the others, especially with this area of high-contrast detail. At ISO 3,200, the Sony A230 renders the black letters with lots of demosaicing errors, which shows up as chroma noise inside those letters. The Canon seems to do better, but its highest ISO is 1,600, so it's really not in the running. The Nikon D3000's contrast is very low compared to the others, perhaps due to lens flare. Here, though, the Sony A380 shows the advantage to its higher resolution, as it still renders the lines inside the letters. While noise suppression blurs color-on-color detail, the algorithm doesn't have as much trouble with single colors on white, or high-contrast detail. Note, though, the chroma noise inside those letters, likely due to demosaicing errors more than sensor noise.

Sony A230 Print Quality

The Sony A230's printed output is pretty good, with a fairly even approach across the ISO spectrum. ISO 100 shots are very slightly soft at 13x19, but only on close inspection; otherwise they look quite good.

ISO 200 shots are soft enough at 13x19 inches that I reduced the resolution to 11x14 with much sharper results. ISO 400 shots also looked good at this size, and ISO 800 shots are quite usable, if only a touch soft.

ISO 1,600 looks good at 8x10, which was surprising, since we saw the quality fall apart at 100 percent onscreen. Which is why we do the printing. ISO 3,200 was a little rough at 8x10, though, yet quite usable at 5x7.

So overall, the Sony A230 made very good quality prints with low noise and good color.

For more on image quality, see this review's other tabs, particularly the Image Quality and Optics tabs.

Analysis. Describing the Sony Alpha A230 and its siblings comes down to a relatively short list of what's new: a smaller, simpler body design, a new kit lens, a few tweaks to the menus and display screens, a new Self-timer mode, and a few other feature tweaks, plus some new accessories pretty well sums it up. The most surprising omission from Sony, one of the world's largest image-sensor manufacturers, is any new technology in the sensors, let alone a resolution increase. We don't believe that's a requirement, as 10 and 14 megapixels is just fine in this market, it's just surprising.

Since Sony's stated goal is to change the kind of consumer they attract and serve, concentrating on affordable lenses and accessories makes a lot of sense. Sony may also try to stick to a schedule of annual upgrades in an effort to stay ahead of the competition, whose products have historically been on an 18-month product cycle.

Shortcomings of the Sony A230 include the small grip, lack of a depth-of-field preview method, no Live View, no movie mode, shorter battery life than its predecessor, and a very slow continuous capture rate of 2.4 frames per second, which makes it a poor choice for action photography.

In technological terms, the Sony A230 doesn't make any monumental leaps, though it is one of the cheaper models on the market.

Image quality from the Sony A230 is about the same as the A330, but with a slightly reduced ability to render yellows and greens. That's odd, because technically they should have the same sensor and image processor. Printed quality was good, producing a good 13x19-inch print at ISO 100, and a good 11x14 out to ISO 400. Even ISO 3,200 was usable at 5x7.

The Sony A230 also had more trouble focusing in low light than the A330, and its flash range was not as good either, both bad signs for indoor photography. So though the A230 is cheaper, we're leaning toward the Sony A330 as our choice for the discerning consumer photographer.

Sony A230 Basic Features

• 10.2 MP Super HAD CCD delivering resolutions as high as 3,872 x 2,592 pixels
• 3x Kit lens, 18-55mm (27-82.5mm equivalent), f/3.5-5.6
• Optical viewfinder
• 2.7-inch Clear Photo LCD Screen
• ISO Sensitivity: 100 to 3,200
• Shutter speeds: 30 seconds to 1/4,000 second
• 2.4 frames per second continuous capture
• Secure Digital or Memory Stick Pro Duo memory card slots
• NP-FH50 Lithium-ion battery
• Dimensions: 5.03 x 3.8 x 2.7 inches (128 x 97 x 67.5 millimeters)
• Weight: 15.9 ounces (452g), without lens, battery or card

Sony A230 Special Features

• Super SteadyShot in-camera image stabilization offers from 2.5 to 3.5 stops of compensation
• Bionz Image Processor
• Dynamic Range Optimizer: Normal DRO improves detail using standard gamma curves for fast shot-to-shot response time. Advanced DRO adjusts dynamic range area-by-area. Improved algorithm from Sony A900
• Anti-Dust Technology
• Auto Pop-Up Flash with four main operating modes and a variable Slow-Sync function
• External, proprietary flash hot-shoe for Sony accessory flash units
• Built-in support for wireless TTL flash exposure with certain Sony flashes
• Eye-Start Autofocus System
• 9-Point Center Cross AF Sensor
• Auto and Manual focus options with Single and Continuous AF modes
• 40-segment honeycomb metering system, plus Center-Weighted and Spot metering options, with AE Lock function
• Scene Selection Modes: Portrait, Landscape, Macro, Sports, Sunset, Night Portrait, and Flash-off
• Creative Style Settings
• sRGB and Adobe RGB color space options
• RAW and JPEG file formats
• Contrast, saturation, and sharpness adjustments
• Adjustable White Balance setting with presets and a manual option
• Index and Slide Show Display
• High-Resolution Thumbnails for PhotoTV HD Viewing
• Help features explain Function menu items and capture modes
• USB 2.0 High-Speed cable and interface software for connecting to a computer and downloading images
• HDMI output
• DPOF (Digital Print Order Format), Exif 2.2, Print Image Matching III and PictBridge compliant

In the Box

The Sony A230 ships with the following items in the box:

• DSLR-A230 body
• DT18-55mm f/3.5-5.6 SAM zoom lens (if purchased as a kit)
• Body cap
• Lens caps
• Lithium-ion battery (NP-FH50)
• Battery charger
• USB cable
• Eyepiece cover
• Shoulder strap
• CD-ROM
• Instruction manual
• Warranty card

Recommended Accessories

• Extra battery pack for extended outings
• Large capacity Memory Stick Duo PRO or SDHC/SD memory card. These days, 2-8GB cards are inexpensive.
• Small camera case for outdoor and in-bag protection

Model Differences

The table below summarizes the differences between the three small consumer Alpha models.

Sony A230 Conclusion

Sony's complete physical redesign of the A200 and A300 series digital SLRs brought with it a slight weight loss, a new card/connector door, and a good power switch relocation, but also came with a significantly reduced grip and the loss of the easy-to-use flash activation button. The redesign also included a new 18-55mm zoom lens, whose shorter length reduces the overall profile of the cameras.

Internally, there were few enough changes that we didn't expect a lot, but were nevertheless pleasantly surprised by the high print quality across the Sony A230's ISO range, with its 10-megapixel images capable of producing very good 13x19-inch prints at the lowest ISOs. Viewed onscreen at 100%, the image quality seemed to drop off pretty dramatically from ISO 800 up, but our printing showed the ISO 800 shots were still usable printed at 11x14 inches. That's quite good. ISO 1,600 and 3,200 shots were also usable straight out of the camera, producing good 8x10 and 5x7-inch prints, respectively.

The new autofocus screen on the Sony A230 is a welcome change, and we also like the new graphical status screen that shows the available range of shutter speeds and apertures for a given scene. We're also happy to see that the menu is about as simple as it was in last year's models, because they were just right. Autofocus speed is fast, but the frame rate is too low for sports shooting, at 2.4 frames per second.

However, there were a few shortcomings in the Sony A230 when compared to the Sony A330, including a slight color difference among yellows and greens, poor autofocus performance in low light, and reduced flash power lead us to prefer the Sony A330. For just $100 more, you also get a remarkably fast Live View mode and a tilting LCD; but we think the better indoor performance you'll get from the Sony A330, both with and without flash is why you should spend the extra money over the A230.

While we like the A230 for its simplicity and good image quality, and think it's priced well enough, we think most consumer photographers should opt for the Sony A330.

Design

Sony A230 Design

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Operation

Sony A230 Operation

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Optics

Sony A230 Optics

The Sony A230 features a bayonet lens mount, which accommodates a range of Sony and Konica Minolta lenses. The Sony A230 comes bundled with a Sony 18-55mm f/3.5-5.6 SAM kit lens. A separate kit comes with both the 18-55mm and a 55-200mm f/4-5.6 telephoto zoom lens. A small button on the front of the camera releases the lens from its mount, so it can be turned and removed. The A230's CCD is smaller than a 35mm frame, so the angle of view at any given focal length will not be the same as on a 35mm camera. To find the approximate 35mm equivalent focal length, multiply the focal length of the lens by 1.5. (Thus, a 50mm lens will provide about the same view as a 75mm lens on a 35mm camera.)

Alpha lens mount. The Sony A230's Alpha lens mount is compatible with the full array of Alpha lenses, both screw-drive and electronic autofocus models.

The Sony A230 provides both manual and automatic focus control modes, set by the Focus Mode switch on the left side of the camera (when viewed from the back). You can select between Auto and Manual focus modes. The Function button provides access to additional AF modes and AF Area options. The Autofocus Mode option under the Function menu offers Single-shot AF, Automatic AF and Continuous AF settings. Single-shot sets focus with each half-press of the Shutter button, while Continuous mode is constantly adjusting the focus, whether the Shutter button is pressed or not. The Automatic setting will lock focus on a still subject or continually adjust focus on a moving subject, for as long as the Shutter button is halfway pressed.

Autofocus Area also has three options available through the Function menu: Wide, Spot, and Local (manual setting). The default option is a nine-point Wide Focus area, indicated by an array of square focus areas inset within four widely-spaced brackets in the viewfinder image. (Note that only the center point utilized a cross-type sensor sensitive to detail in both the horizontal and vertical axis. The other 8 sensors are line-type, sensitive to detail in one direction only, although the four line sensors at the corners of the AF array are angled, so they'll respond to both horizontal and vertical detail.)

 You can override the chosen AF mode by pressing the Spot AF / OK button in the center of the Multi-controller, which defaults to the more accurate center AF point (the latter indicated by a target box in the center of the viewfinder). Wide AF bases its focus on the most prominent subject detail in the portion of the image that falls within the AF brackets. Spot mode bases its focus on the very center of the frame, where the center target resides. The Local setting is Sony's terminology for a manual AF area selection, and lets you manually set the main AF point by using the Multi-controller to highlight one of the nine AF points. The active AF area is briefly illuminated in the viewfinder during focusing.

Sony didn't include a depth-of-field preview button on the A230, nor on any of the new consumer models announced early 2009. Admittedly, that feature is less useful with such a small viewfinder, but this factor might put off some macro and landscape photographers.

Sony A230 AF Assist

The Sony A230 uses its built-in flash head as a very bright AF-assist light for better focusing in dim lighting. This has the advantage that the light from the flash is very bright, but the downside is that you can only get AF assist when the flash head is raised. This is a real limitation for available-light photography, as the camera can expose at light levels below those it can focus at. If the camera is fixed on a tripod, you can work around this limitation, but it's somewhat awkward: With the flash head up, half-press the shutter button to make the camera focus. Then switch the focus mode to manual focus, being careful not to touch the focus ring on the lens. Stow the flash head, and then take your picture. (But don't forget to switch back to AF mode for the rest of your shooting!)

Sony A230 Anti-Shake

The Sony A230 also employs Sony's Super SteadyShot anti-shake technology, which uses a highly sensitive angular rotation sensor and Smooth Impact Drive Mechanism (SIDM) to move the CCD assembly itself to counteract camera movement, rather than the more common approach of moving an optical element inside the lens.

Sony claims that the Super SteadyShot anti-shake system in the A230 provides a 2.5 to 3.5-stop reduction in the blurring produced by camera shake. Translating that into real-world shutter speeds, a two-stop improvement means that a shutter speed of 1/30 second would give you the same resistance to blur from camera shake that a speed of 1/120 would without anti-shake. A 3.5-stop improvement would mean you could shoot as slow as 1/11 second and get the same results (blur-wise) as when shooting at 1/120 second unaided. Even the lower end of the specified range of effectiveness means a pretty significant improvement in one's ability to hand-hold long exposures.

When Super SteadyShot is activated, the SteadyShot scale on the right side of the viewfinder display indicates the degree of stabilization. A downside to Sony's body-based SteadyShot approach is that while you can see the results of stabilization on competing lens-based designs, you have only this scale to tell you how the A230's SteadyShot mechanism is doing. SteadyShot minimizes the effect of blurring caused by slight camera movement, which is more noticeable at long focal lengths.

Sony A230 Anti-Dust Technology

To help combat dust particles on the CCD from changing lenses, Sony included both an anti-static coating on the CCD filter and anti-dust vibrations to automatically shake the CCD with the anti-shake mechanism each time the camera is shut off. There is also a manual cleaning mode, where the camera lifts the mirror and opens the shutter, allowing access to the sensor for use with a blower or other cleaning device.

Sony A230 Optical Test Results

Below are the results of our optical tests on the Sony A230. We used the 18-55mm kit lens as the benchmark, since most people will buy and use the camera in this configuration.

Kit Lens

Zoom
Good performance with the 18-55mm kit lens, but some variability from sample to sample.

The Sony Alpha 230 comes with an 18-55mm kit lens, which has a typical optical zoom range of ~3x. Details are a bit soft in the center of the frame at full wide-angle, with low levels of coma distortion but some minor blurring and chromatic aberration in the corners. Results at full telephoto are better with very little corner softness or chromatic aberration, but still a hint of softness across the frame. Lacking a Live View option, the Sony A230 doesn't have the "Smart Teleconverter" digital zoom mode that the A330 and A380 have.

The particular sample of the 18-55mm kit lens used for the shots above was pretty good, so we used that lens for all our kit-lens shots with the Spring 2009 A-series models. We did find some variation between the lenses we received with the three cameras, though: It's always a good idea to check that newly-bought lenses are focusing well and evenly across the frame, but the variation we saw among the Sony 18-55mm samples we had in our lab is good reason to remind our readers of this. The A230 also seemed to back-focus somewhat with the kit lens, but it's less evident in these shots, taken at ~infinity, and with the lens stopped down to f/8.

Macro
A slightly large macro area with the kit lens, with good detail but soft corners. Flash throttles down pretty well.

The Sony A230 captured a slightly larger macro area than average with the standard 18-55mm kit lens, measuring 2.35 x 1.57 inches (60 x 40 millimeters). Detail was fairly strong near the center of the frame, though corners were quite soft. (Most lenses have some softening in the corners at macro distances.) The A230's flash throttled down for the macro area pretty well, despite the slight overexposure.

Geometric Distortion
High barrel distortion at wide-angle with the 18-55mm kit lens, though hardly any distortion at telephoto.

Barrel distortion at 18mm is 1.0 percent

Almost no distortion at 55mm

The Sony A230's 18-55mm kit lens produced about 1.0 percent barrel distortion at wide-angle, which is higher than average and noticeable in its images. At the telephoto end, there was only about 1 pixel of barrel distortion which is essentially nonexistent. This is the tendency for the lens to bend straight lines outward (like a barrel -- usually at wide-angle) or inward (like a pincushion -- usually at telephoto).

Chromatic Aberration
Moderate at wide-angle, but low at telephoto with the 18-55mm kit lens.

Chromatic aberration was moderate at the full wide-angle setting of the Sony A230's 18-55mm kit lens, showing about 4-6 pixels of bright coloration on either side of the target lines. At telephoto, chromatic aberration is much lower and hardly noticeable. (This distortion is visible as a slight colored fringe around the objects at the edges of the field of view on the resolution target.)

Corner Sharpness
Minimal blurring in the corners of the frame at wide-angle and telephoto with the kit lens, but soft at center (back-focus issue).

Our sample of the Sony A230 seemed to generally be back-focusing (focusing a bit behind the target) with the kit lens in this test. The center is rather soft at both wide angle and telephoto (worse at wide angle), but the corners are relatively sharp, at least for a kit lens. After some analysis, it appears that the A230 was focusing a bit behind the target here: When combined with the curvature of field of the kit lens, this meant that the corners were in better focus than the center. For comparison, see the examples below, shot with the same lens on the Sony A330.

The shots above show more typical behavior with the kit lens, shot on the A330. Here, the center of the target is sharper (especially in the wide angle example), but the corners are softer. We often see minor front- or back-focusing on cameras we test, but our sample of the A230 was worse than average in this regard. It appeared that its focus errors were limited to the kit lens, though, as shots taken with the Sigma 70mm f/2.8 macro lens we use for of the test shots were well-focused. Ditto the Far-Field shots, which were taken with the Sony 24-70mm f/2.8 Carl Zeiss optic. We found a good bit of variability in focusing between the A230/330/380 and the various kit lenses we received with them, so have developed an unfavorable opinion of that lens. The A230 body did appear to be back-focusing with most of the kit lens samples, though. Front/back focus can generally be corrected by having the camera serviced, but if it's a newly-purchased unit, we'd suggest asking the retailer for an exchange.

The images above were taken from our standardized test shots. For a collection of more pictorial photos, see our Sony Alpha DSLR-A230 Photo Gallery .

Exposure

Sony A230 Image Quality

Color

Saturation & Hue Accuracy
Very good overall accuracy and saturation, with only minor shifts in hue and intensity.

In the diagram above, the squares show the original color, and the circles show the color that the camera captured. More saturated colors are located toward the periphery of the graph. Hue changes as you travel around the center. Thus, hue-accurate, highly saturated colors appear as lines radiating from the center. Click for a larger image.

Saturation. The Sony A230 pushes strong reds, dark blues, and some greens just a little, but actually undersaturates bright yellows, light greens, and cyan tones slightly. Its overall color saturation is a bit higher than the A330, but still more true-to-life than that of most consumer SLRs. Most consumer digital cameras produce color that's more highly saturated (more intense) than found in the original subjects. This is simply because most people like their color a bit brighter than life.

Skin tones. Here, with the color balanced properly for the light source, the Alpha A230's skin tones looked just about right. There were some slight red tints in places, but skin tones looked pretty natural overall. Where oversaturation is most problematic is on Caucasian skin tones, as it's very easy for these "memory colors" to be seen as too bright, too pink, too yellow, etc.

Hue. The Alpha 230 showed relatively small color shifts when compared to the correct mathematical translation of colors in its subjects. Most noticeable were a shifts in orange toward yellow-orange, yellow-orange toward yellow, and yellow toward green, with some slight shifts in cyans and blues as well. In our test subjects, we did notice that it was a little hard to distinguish between some shades of orange and yellow. Still, color accuracy was pretty good overall. Hue is "what color" the color is.

Saturation Adjustment
The Sony A230 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, about as wide a range as you're likely to find photographically relevant, apart from special effects that are arguably better achieved in software. The fine steps between settings mean you can program the camera to just the level of saturation you prefer.

Saturation Adjustment Examples
-3	-1	0	+1	+3

The table above shows results with several saturation settings, see the Thumbnails index page for more (look for the files named A230OUTBSATx.JPG). Click on any thumbnail above to see the full-sized image.

Sensor

Exposure and White Balance

Indoors, incandescent lighting
Good color with Incandescent and Manual white balance settings, though warm results with Auto white balance. About average positive exposure compensation required.

Indoors, under normal incandescent lighting, the Sony Alpha 230 produced overly warm color with its Auto white balance setting. Both the Incandescent and Manual settings produced more accurate results. It was a bit of a toss-up between them, as the Manual setting was a hint cool and the Incandescent option a little warmer; We suspect most users would prefer the slight warmth of the results with the Incandescent white balance setting, as being more evocative of the original lighting. At +0.3 EV, the exposure compensation required was average for this shot. Color looks good throughout the frame, with only the slightest purplish tints in the blue flowers. (Many digital cameras reproduce these flowers with a dark, purplish tint, so the Alpha 230 actually performs a little better than average here.) Our test lighting for this shot is a mixture of 60 and 100 watt household incandescent bulbs, a pretty yellow light source, but a very common one in typical home settings here in the U.S.

Outdoors, daylight
Very good results under harsh lighting, with good handling of contrast, detail, and color.

Outdoors, the Sony Alpha 230 performed well, but required slightly higher than average exposure compensation of +1.0 EV for our "sunlit" portrait shot to keep the model's face bright. (The average among the cameras we've tested is +0.7 EV.) Contrast is a little high, as you might expect under such harsh lighting, but the camera actually did a very good job of holding onto detail in both the deep shadows and bright highlights. Despite the very high apparent brightness, there are actually very few clipped highlights in the model's face and shirt, with most of the clipping occurring in the pendant and flowers. The highlights were also blown out just a bit in the House shot, but not too badly. Color balance is good as well, with good saturation considering the bright lighting. The camera's contrast adjustment did a very nice job of toning down the exposure without creating any strong color variations in the skin (though skin tone did change slightly - See the Contrast series under the Extremes section below). Overall, very good performance.

See full set of test images with explanations
See thumbnails of all test and gallery images

Resolution
High resolution, 1,500 ~ 1,600 lines of strong detail.

Our laboratory resolution chart revealed sharp, distinct line patterns down to about 1,600 lines per picture height in the horizontal direction, and about 1,500 in the vertical direction. Extinction didn't occur until around 2,600 lines. Unusually, we weren't able to do much better with Adobe Camera RAW processed RAW files. 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.

See full set of test images with explanations
See thumbnails of all test and gallery images

Sharpness & Detail
Slightly soft results overall with the kit lens, but sharp, detailed images with an excellent lens. Only minor edge-enhancement on high-contrast subjects. Minimal noise suppression visible.

Sharpness. The Sony A230 produced good detail, but softness in its kit lens didn't show off the camera's abilities to best advantage. The crop of the house and trees above is from an image shot with Sony's 24-70mm f/2.8 Carl Zeiss zoom, a really excellent optic, and shows the good detail the A230 body is capable of. Some edge enhancement artifacts are visible on high-contrast subjects such as the crop above left, but overall results are still good. Edge enhancement creates the illusion of sharpness by enhancing colors and tones right at the edge of a rapid transition in color or tone.

Detail. The crop above right shows only minimal noise suppression, as the darker areas of the model's hair show a lot of detail. Individual strands are still distinguishable even in the lighter shadows, though they begin to merge as shadows deepen, and some areas of particularly subtle contrast still blur somewhat. Still, good performance here. 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.

RAW vs In-Camera JPEGs
As noted above, the Sony A230 produces fairly sharp, detailed images with minor visible sharpening artifacts in camera JPEGs. Still, a little more detail can be obtained from carefully processing RAW files though, without additional artifacts. Take a look below, to see what we mean:

Camera JPEG (Fine)	RAW via Sony IDC	RAW via ACR

In the table above, mousing over a link at the bottom will load the corresponding crop in the area above, and clicking the link will load the full resolution image. Examples include in-camera Fine JPEG, RAW file processed through Sony's Image Data Converter SR version 2 software, and RAW file processed through Adobe Camera Raw version 5.5, then sharpened in Photoshop. For the Sony A230's images, I found best results with strong but tight 300% unsharp masking with an 0.3 pixel radius.

Note: ACR renders colors somewhat differently than either the A230 or the Sony software, so the greens in the trees are rather different. There's no mistaking the increase in detail though, regardless of changes in color or tone.

ISO & Noise Performance
Low noise at the normal sensitivity settings, with very good results up to ISO 400. Noise jumps significantly at ISO 800 and above, though.

Noise Reduction = On (Default)
ISO 100	ISO 200	ISO 400
ISO 800	ISO 1,600	ISO 3,200

The Sony Alpha 230 produced low noise at its lower sensitivity settings, and even at ISO 400, noise is well controlled, with plenty of detail left intact. At ISO 800, the noise level increased significantly, and fine detail began to suffer, with some chroma noise visible in darker tones. At the higher settings of 1,600 and 3,200, noise levels were much higher, with heavy blurring and chroma noise blotches. The ISO 3,200 shot is also a bit darker than the others, indicating a slightly non-linear sensitivity response at the highest ISO. See the Print Quality section below for recommended maximum print sizes at each ISO.

A note about focus for this shot: We shoot this image at f/4, using one of three very sharp reference lenses (70mm Sigma f/2.8 macro for most cameras, 60mm f/2.8 Nikkor macro for Nikon bodies without a drive motor, and Olympus Zuiko 50mm f/2.0 for Four Thirds and Micro Four Thirds bodies). 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. :-) The focus target position will have been adjusted to insure that the rest of the scene is focused properly.

Extremes: Sunlit and low light tests
High resolution and good exposure at the default setting. Very good shadow detail. Good low-light performance, capable of capturing bright images in near darkness, but autofocus and metering struggled at lower light levels.

Sunlight:
The Sony Alpha 230 handled the deliberately harsh lighting in the test above pretty well. Though contrast is a little high, shadow and highlight detail are very good. The camera's contrast adjustment also did a good job of decreasing overall contrast without producing strong color variations. The +0.7 EV exposure did the best job here, as the model's face was a bit too dim at +0.3 EV and +1.0 EV produced very strong highlights. (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.)

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 A230's contrast setting meets both challenges.

Minimum Contrast, normal D-R setting
Contrast set to lowest, +0.7 EV	Contrast set to lowest, Auto Exposure

At its lowest contrast setting, the A230 did an excellent job of preserving highlight detail, maintaining natural-looking skin tones, and holding nice detail in the shadows. The A230 captured good color outdoors, though just a little on the warm side. Overall, very good results here, especially when the contrast setting was tweaked. (A very tough shot; the Sony A230 does much better than average here.)

Contrast Adjustment Examples
-3	-1	0	+1	+3

The series of shots above shows results with several different contrast adjustment settings, showing the minimum step size around the default, as well as both extremes. While you can see the effect of the extreme settings here, it's hard to really evaluate contrast on small thumbnails like these; 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, so it's a good trick to be able to vary one with out the other changing as well. There are a few minor color shifts in the images above, but they're pretty minor indeed, so we'd have no qualms about using the contrast adjustment control whenever we're faced with harsh lighting. Sony did a good job here.

Sony's DRO (Dynamic Range Optimization)
While the Sony A230's contrast adjustment feature works very well, their Dynamic Range Optimization system is designed to take it to another level. This system analyzes the range of brightness of each image, and adjusts the camera's image processing parameters accordingly, to make the best use of the available dynamic range. Three options are available on the A230: DRO Off, Standard D-R, and D-R Advanced (Plus). In Auto exposure mode, or in Portrait, Landscape or Macro, DRO is automatically set to Advanced. In Sports mode, DRO is set to Standard. DRO is set to Off in Sunset and Night Portrait/View mode. Unlike some of Sony's higher-spec cameras, the A230 does not allow you choose the strength for the D-R effect. Standard D-R looks at the entire image and effectively adjusts contrast and brightness across the entire image for best effect. D-R Advanced analyzes everything, but makes local adjustments to bring out shadow detail and preserve highlights.

DRO Examples
DRO Off +0 EV	DRO Off +0.7 EV	DRO Standard +0 EV	DRO Advanced +0 EV
Highlight Retention
Shadow Detail / Noise

As you can see from the crops above, to get a similarly exposed image without DRO enabled, about +0.7 to +1.0 EV positive exposure compensation is required. Other than that, the effect of DRO is quite subtle (in this case anyway). You can see more highlight detail with DRO set to Advanced versus Off, but DRO Standard seems to clip slightly more highlights than when DRO is set to Off. Shadow detail is similar in all three similarly exposed cases, but there is an increase in noise in the deepest shadows with DRO enabled. Note: the shadow crops have had levels adjusted equally (by sliding Photoshop's highlight slider to 100) on the right side of each to reveal the increase in shadow noise with DRO active.

	1 fc 11 lux	1/2 fc 5.5 lux	1/4 fc 2.7 lux	1/8 fc 1.3 lux	1/16 fc 0.67 lux	1/16fc No NR
ISO 100	2 sec f2.8	4 sec f2.8	8 sec f2.8	15 sec f2.8	30 sec f2.8	30 sec f2.8
ISO 200	1 sec f2.8	2 sec f2.8	4 sec f2.8	8 sec f2.8	15 sec f2.8	15 sec f2.8
ISO 400	0.5 sec f2.8	1 sec f2.8	2 sec f2.8	4 sec f2.8	8 sec f2.8	8 sec f2.8
ISO 800	1/4 sec f2.8	0.5 sec f2.8	1 sec f2.8	2 sec f2.8	4 sec f2.8	4 sec f2.8
ISO 1600	1/8 sec f2.8	1/4 sec f2.8	0.5 sec f2.8	1 sec f2.8	2 sec f2.8	2 sec f2.8
ISO 3200	1/15 sec f2.8	1/8 sec f2.8	1/4 sec f2.8	0.5 sec f2.8	1 sec f2.8	1 sec f2.8

Low light. The Sony A230 performed reasonably well on the low-light test, capturing usable images at the lowest light level with the lowest sensitivity setting (ISO 100). Manual exposure had to be used however, as the A230's exposure metering was not reliable at lower light levels. Noise is fairly low below ISO 800, and consists mainly of chroma blotches at higher ISOs. There's no sign of any banding issues or uncorrected hot pixels. Color balance looked good with the Auto white balance setting.

The camera's autofocus system struggled a bit in low-light, compared to most SLRs, as it was only able to focus on the subject down to somewhere between the 1/2 and 1/4 foot-candle light level unassisted. It was however able to autofocus in complete darkness with the AF assist enabled. Keep in mind that the longer shutter speeds here demand the use of a tripod to prevent any blurring from camera movement, Sony's Super SteadyShot not withstanding. (A useful trick is to just prop the camera on a convenient surface, and use its self-timer to release the shutter. This avoids any jiggling from your finger pressing the shutter button, and can work quite well when you don't have a tripod handy.)

How bright is this? The one foot-candle light level that this test begins at roughly corresponds to the brightness of typical city street-lighting at night. Cameras performing well at that level should be able to snap good-looking photos of street-lit scenes.

NOTE: This low light test is conducted with a stationary subject, and the camera mounted on a sturdy tripod. Most digital cameras will fail miserably when faced with a moving subject in dim lighting. (For example, a child's ballet recital or a holiday pageant in a gymnasium.) Digital SLRs like the Sony A230 do much better than point & shoots, but you still shouldn't expect a quick autofocus lock with moving subjects.

Output Quality

Print Quality
Great print quality, good color, sharp 13 x 19-inch prints at ISO 100.

The Sony A230's printed output is pretty good, with a fairly even approach across the ISO spectrum. ISO 100 shots are very slightly soft at 13x19, but only on close inspection; otherwise they look quite good.

ISO 200 shots are soft enough at 13x19 inches that I reduced the resolution to 11x14 with much sharper results. ISO 400 shots also looked good at this size, and ISO 800 shots are quite usable, if only a touch soft.

ISO 1,600 looks good at 8x10, which was surprising, since we saw the quality fall apart at 100 percent onscreen. Which is why we do the printing. ISO 3,200 was a little rough at 8x10, though, yet quite usable at 5x7.

So overall, the Sony A230 made very good quality prints with low noise and good color.

Testing hundreds of digital cameras, we've found that you can only tell just so much about a camera's image quality by viewing its images on-screen. Ultimately, there's no substitute for printing a lot of images and examining them closely. For this reason, we now routinely print sample images from the cameras we test on our Canon Pro9000 Mark II studio printer, and on the Canon Pixma MP610 here in the office. (See the Canon Pixma Pro9000 Mark II review for details on that model.)

The images above were taken from our standardized test shots. For a collection of more pictorial photos, see our Sony Alpha DSLR-A230 Photo Gallery .

Not sure which camera to buy? Let your eyes be the ultimate judge! Visit our Comparometer(tm) to compare images from the Sony Alpha DSLR-A230 with those from other cameras you may be considering. The proof is in the pictures, so let your own eyes decide which you like best!

Performance

Sony A230 Performance

Viewfinder

Sony A230 Viewfinder

The Sony A230 features a digital SLR design, so the optical viewfinder offers a true, through-the-lens (TTL) display. A dioptric adjustment to the right of the eyepiece accommodates eyeglass wearers, letting them adjust the viewfinder optics between -2.5 to +1.0 diopters, down from -3.0 to +1.0 on the A330/A380. The viewfinder eyepiece has a rather short eyepoint specified at 16.5mm from the eyepiece, and 10.9mm from the eyepiece frame at -1 diopter (also down from the A330/A380's 19.7mm and 14.1mm respectively). Magnification is better than the A330/A380's 0.74x though, at 0.83x with a 50mm lens and -1 diopter. This is due to the extra space needed for the Live View sensor on the AA330/AA380 (the A230 does not offer Live View mode). Coverage is the same for all three cameras, specified at 95%, typical for non-pro SLRs.

Like the Sony A330/A380, the A230's viewfinder uses a pentamirror design. The advantage of a pentamirror is it's lighter and less expensive; however an all-glass pentaprism design delivers more light to the viewfinder eyepiece, thanks to its more efficient internal reflection.

The Sony A230's information display features a series of focus target marks in the center of the view that highlight briefly when the AF system is activated. Note that the line-type AF-Point displays from previous generations of Sony SLRs have been replaced by boxes, however only the center AF sensor is a cross-type. Markers are provided for 16:9 shooting area, as well as the general AF area.

Camera information appears beneath the image area in a small strip, and reports all of the major camera settings, such as shutter speed, aperture, flash mode, EV compensation, etc. To the far right side of the strip is the Super SteadyShot (anti-shake) scale, indicating the degree of stabilization whenever anti-shake mode is activated. The information readout in the viewfinder activates whenever you half-press the Shutter button, and remains active for a few seconds afterward. The only difference in the Sony A230's information display compared to the A330/A380 is the lack of an Autoexposure (AE) Lock indicator.

A pair of horizontal infrared sensors just below the viewfinder detect your eye as it approaches the viewfinder, and deactivates the LCD information display if you have the Auto Off w/ VF option enabled in the Custom menu. (Note: our camera picked-up the IR beam in the image at right. The beam is invisible to the naked eye.) You can also set these sensors to initiate autofocus whenever your eye is in range of the eyepiece (Eye-Start AF), which makes the A230's autofocus seem even more responsive.

Viewfinder Test Results

Coverage
Good accuracy from the optical viewfinder.

The Sony Alpha 230's optical viewfinder showed about 95 percent coverage accuracy with our Sigma 70mm f/2.8 prime lens. This is average for a consumer SLR, matching Sony's specification of 95%. The resulting image, however, is shifted relative to the CCD image sensor, which unfortunately is also more common among cameras we test than we might wish for. The Sony A230 does not support Live View mode like its more expensive siblings, so there's no separate LCD-based viewfinder accuracy shot here.

Flash

Sony A230 Flash

The Sony A230 features a built-in, pop-up flash, which operates in either Auto, Fill-Flash, Slow-sync, Rear Sync, Wireless, and Flash-off modes. To release the flash from its compartment, press the button on the left side of the pentamirror housing. Close it again by pushing the flash head back down.

The Flash mode is changed from the Function screen. In Auto flash mode (available only in the camera's Auto or Scene Selection modes), the camera automatically determines when to fire the flash based on the existing lighting, and will pop-up the flash automatically. In Fill-Flash mode, the flash fires with every exposure, regardless of lighting conditions. Slow-sync mode fires the flash for foreground fill exposure, while allowing the background to burn in. The Rear Flash Sync mode fires the flash at the end of the shutter time, rather than the beginning. If you have moving objects in the scene with lights, as with a car, this will produce a sharp image of your subject, with a "motion trail" following behind it when shooting at slower shutter speeds. The flash is off when Flash Off mode is selected, or when the flash is down in non Auto exposure mode.

Flash exposure compensation can be set via the Camera 1 menu, measuring two stops lower or greater, in 1/3-stop increments.

The A230's built-in flash has a Guide Number (GN) of 10 meters or 32.8 feet at ISO 100. That's a bit below the average of about 12 meters for Consumer SLRs we've tested. Maximum sync speed is 1/160s. High Speed Sync (HSS) shooting with shutter speeds up to 1/4,000s is available with Sony HVL-F58AM and HVL-F42AM external flash units.

A Red-Eye Reduction option is available through the Custom 1 menu. When Red-Eye reduction is enabled, the camera will fire a few low-power flash pulses before it actually snaps the picture, to make the pupils of your subjects' eyes contract.

The A230 also has a top-mounted hot shoe for attaching an external flash unit. The shoe design and contact arrangement are set up for Sony's own dedicated flash units

The Wireless mode lets the Sony A230 work with compatible remote flash units with wireless capability, specifically the Sony HVL-F58AM and HVL-F42AM. Four separate control channels are available for wireless operation, to allow multiple photographers to work wirelessly in the same area without interfering with each other. You're limited to a single external flash unit vs the 3 groups that you can control with Sony's higher-end models, but it still opens a lot of creative possibilities, when the flash doesn't have to be attached to your camera. The ability for the A230's internal flash to act as a controller for a single group of wireless flash units is an upgrade relative to last year's A200/300/350, and relatively rare among entry-level SLR models. Operating in Wireless mode with a compatible external flash unit, the Sony A230's flash exposure compensation adjustment can adjust the intensity of the external flash remotely, once the camera and flash unit have been initially synched to each other.

Flash Test Results

Coverage and Range
Good flash performance at moderate range; uneven coverage at wide-angle. Our standard shots required no exposure compensation.

Coverage and Exposure. Flash coverage was uneven at wide-angle (18mm), but much more uniform at telephoto (55mm). In the Indoor test, the Sony A230's flash required no exposure compensation adjustment to get good results. (Most cameras we've tested required about +0.7 EV for this scene.) The camera's Slow-Sync flash mode produced slightly brighter and more even results, though with a stronger pinkish-orange cast from the room lighting.

Flash Range: Wide Angle
6 ft	7 ft	8 ft	9 ft	10 ft	11 ft
1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100
12 ft	13 ft	14 ft	15 ft	16 ft
1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100	1/60 sec f3.5 ISO 100

Flash Range: Telephoto
6 ft	7 ft	8 ft	9 ft	10 ft	11 ft
1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100
12 ft	13 ft	14 ft	15 ft	16 ft
1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100	1/80 sec f5.6 ISO 100

ISO 100 Range. At wide-angle, flash shots at ISO 100 started out pretty bright at 6 feet, increased in strength at 7 feet and remained fairly bright out to a distance of 11 feet. At full telephoto and ISO 100, the target started out bright at 6 feet, but lost intensity gradually from there. (For whatever reason, the flash performance is one area of significant difference between the A230 and its more expensive brother the A330. Both cameras share the same sensor and electronics (at least to the best of our knowledge), but the Sony A230's flash range at telephoto is considerably less.)

Manufacturer-Specified Flash Range
Wide-angle	Telephoto
9.4 feet ISO 100	5.9 feet ISO 100

Manufacturer Specified Flash Test. The Sony A230's built in flash is rated with a Guide Number of 10m at ISO 100. That works out to about 9.4 feet at f/3.5 and 5.9 feet at f/5.6, the maximum apertures of the kit zoom lens. In the shots above, the Alpha 230 performs as Sony says it will, producing good exposures at the rated distances at both wide angle and telephoto. Our standard test method for flash range uses a fixed setting of ISO 100, to provide a fair basis of comparison between cameras. We've now also begun shooting two shots using the manufacturer-specified camera settings, at the range the company claims for the camera, to assess the validity of the specific claims.

Imatest Results

Sony A230 Imatest Results

We routinely use Norman Koren's excellent "Imatest" analysis program for quantitative, thoroughly objective analysis of digicam test images. I highly recommend it to our technically-oriented readers, as it's far and away the best, most comprehensive analysis program I've found to date.

My comments below are just brief observations of what we see in the Imatest results. A full discussion of all the data Imatest produces is really beyond the scope of this review: Visit the Imatest web site for a full discussion of what the program measures, how it performs its computations, and how to interpret its output.

Here's some of the results produced by Imatest for the Sony A230:

sRGB Accuracy Comparison
Sony A230	Canon XS	Nikon D3000	Olympus E-520	Pentax K2000

The Sony A230 showed very good color accuracy, as well as fairly accurate saturation levels. Hue accuracy was quite good, with small hue shifts occurring in the cyans, blues, reds, oranges and yellows. The shift in orange and yellow-orange was somewhat greater, though; the camera doesn't discriminate well between yellow and yellow-orange hues. Average saturation was 106.2% (6.2% oversaturated), which is more true to life than the typical entry-level SLR. (Only the Canon XS did better in this group.) Average "delta-C" color error was only 5.48 after correction for saturation, which while very good, wasn't quite as good as the Canon XS. (Delta-C is the same as the more commonly referred to delta-E, but delta-C takes into account only color differences, ignoring luminance variation.) Overall, a good color response for an SLR, especially a consumer oriented model. With very similar color to the other A-series models announced at the same time (the A330 and A380), the Sony A230 pushes strong reds, dark blues and some greens just a little, but actually undersaturates bright yellows, light greens, and cyan tones slightly: Overall saturation is closer to real life than that of most consumer SLRs we test. Mouse over the links below the illustration above to compare results with competing models. Mouse over the links below the illustration above to compare results with competing models.

Adobe RGB Accuracy Comparison
Sony A230	Canon XS	Nikon D3000	Olympus E-520	Pentax K2000

Like most other cameras, when using the Adobe RGB color space (which provides a much wider gamut, or range of colors that can be expressed), the Sony A230 delivers more saturated colors, although the change in saturation here is very slight, relative to the sRGB results. Average saturation was 107.6%, a little higher than the sRGB results. Average saturation-corrected hue error was 4.91 "delta-C" units, a little more accurate than the sRGB results. Again, mouse over the links below the illustration above to compare results with other consumer SLRs.

This image shows how the Sony A230 actually rendered the colors of the MacBeth chart, compared to a numerically ideal treatment. In each color swatch, the outer perimeter shows the color as actually captured by the camera, the inner square shows the numerically correct color after correcting for the luminance of the photographed chart (as determined by a second-order curve fit to the values of the gray swatches), and the small rectangle inside the inner square shows the numerically correct color, without the luminance correction. This image shows the very good hue accuracy of the Sony A230, and also a tendency to boost the brightness (luminance) of highly saturated colors. We we've observed this brightness boost in many cameras we've tested; it seems to be a way to get brighter-looking color without completely overdoing the saturation. In the neutrals, the A230 tracks the numerically exact values fairly closely in the highlights through midtones, but increases contrast by pushing the shadows a bit deeper than the technically accurate numbers. As noted above, the overall color accuracy of the Sony A230 is better than that of most cameras we test, although its competitor the Canon Rebel XS edges it out across most of the spectrum (except the reds, which the XS pushes a good bit more).

There's a lot in this particular graph, a lot more than we have room to go into here. (This set of plots has also changed a few revisions back in Imatest. Some of the plots that were once shown here are now shown in other Imatest output. Since we largely focus on the Noise Spectrum plot, we only show the graphic above, which includes that plot.)

In comparing these graphs with those from competing cameras, we've found that the Noise Spectrum graph at lower right is the most important. Cameras that manage to shift their noise spectrum to higher frequencies have much finer-grained noise structures, making their noise less visually objectionable. In the graph above, this would show up as a noise spectrum curve that remained higher on the right side, representing higher noise frequencies.

The Sony A230 does a fair job of keeping much of the noise energy at high frequencies, so what little low-ISO image noise that's there is pretty fine-grained as a result. The color channels are quite a bit noisier than the luminance, however, especially the red and blue channels at lower frequencies. (This seems quite common these days.) This manifests itself as small, colored blotches in monochromatic midtones and shadows, and is only visible when pixel-peeping to a pretty extreme degree.

As we saw with previous Sony SLRs, there are spikes that occur in the Noise Spectrum plot every 0.125 or 1/8 cycles per pixel. The source of the noise spikes appears to be the sometimes slightly lighter pixels along the edges of the 8x8 pixel blocks used in the A230's JPEG encoding. Overall noise levels are so low however that the noise spikes aren't really visible at ISO 100 under normal conditions.

Here's the same set of noise data at ISO 1,600. Here, the Noise Spectrum graph is shifted towards the left-hand, lower-frequency side than it was at ISO 100, though it's hard to tell because of the change in scale. (Interestingly, the red and blue channel's noise spectrum is still much higher at low frequencies, something most noise reduction systems tend to minimize at higher ISOs.) This indicates a coarsening of the "grain" of the image noise patterns by quite a bit, and indeed that's what we see when inspecting the A230's ISO 1,600 images.

Here's the same set of noise data at ISO 3,200. The Noise Spectrum graph is similar, though the A230's noise reduction has further reduced the chroma noise to more closely follow luminance noise, but it's still higher, especially at low frequencies. Notice also that the noise levels are quite a bit higher. (Particularly evident in the pixel noise plot in the upper right corner of the illustration, and in the midtones and below in the graph in the lower left hand corner.)

This chart compares the Sony A230's noise performance over a range of ISOs against that of other current, entry-level consumer models. While we continue to show noise plots of this sort because readers ask for them, we each time point out that the noise magnitude is only a small part of the story, the grain pattern being much more important. Here, we can see that the Sony A230's luminance noise magnitude follows that of the A330 very closely, which is no surprise, since they use the same sensor and image processor. The Sony A230's noise starts out average relative to most of its "competition", and remains about average compared to the others up to 800. (The Nikon D3000 being the exception, as its High ISO Noise Reduction defaults to Off or Minimal, depending on the ISO.) At ISO 1,600, the A230's graph takes a deep dip, down to below the ISO 400 level, indicating strong noise reduction has kicked in (at the inevitable cost to fine detail). At ISO 3,200, the A230's graph is still much lower than the competition. This may seem like good performance, but examining high ISO images from the A230 reveals that a lot of fine detail has been blurred away by noise reduction. Do keep in mind these measurements are at default settings, so the shape or position of the curve is influenced by the settings you choose to use. Turning off the high ISO reduction (the Sony A230 has only Off and On options) would have certainly raised the values in the graph above, but would also result in more detail retention. Note that the Sony A230 forces high ISO noise reduction off when in continuous mode, and forces it on in some exposure modes, such as Auto or Scene Selection.

 

Sony A230 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 255, 255, 255. 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 1.0 (low image quality), 0.5 (medium image quality), 0.25 (medium-high image quality) and 0.1 (high image quality). For most photographers and most applications, the noise thresholds of 0.5 and 0.25 f-stops are probably the most relevant to the production of acceptable-quality finished images, but many noise-sensitive shooters will insist on the 0.1 f-stop limit for their most critical work.

The image below shows the test results from Imatest for an in-camera JPEG file from the Sony A230 with a nominally-exposed density step target (Stouffer 4110), and the A230's contrast and other exposure-related settings at their default values. Note that the A230 selects different levels of DRO depending on the exposure mode, so we've included plots from all three settings (Off, Standard and Advanced or Plus) here.

Here, we can see that the tone curves show pretty good gradation in the highlights and the shadows trail off nicely for all three settings. (The order above, from top to bottom is Off, Standard and Advanced/Plus). As we almost always find with dynamic-range enhancement modes on consumer cameras, the total dynamic range actually remains constant (the camera just flattens the highlight end of the tone curve a little) and is pretty good, with a range of between 10.4 and 10.7 f-stops, while the scores at the highest level (7.26 to 7.30 f-stops) are about average for an SLR with an APS-C sensor.

Processing the Sony A230's RAW (.ARW) files through Adobe Camera Raw (ACR) version 5.5 increased dynamic range by more than a 1.5 f-stops at the highest quality level (8.95 f-stops), compared to the in-camera JPEG (7.30 f-stops) while total dynamic range reported increased from 10.7 to 12.1 f-stops. These results were obtained by using ACR's automatic settings; then manually tweaking from there. (The auto settings by themselves gave a value of 8.51 stops of DR at the highest quality level.) It's worth noting here 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.

Dynamic Range, the bottom line:

The net result was that the Sony A230's JPEGs scored about average in Imatest's dynamic range analysis when compared against other current APS-C sensor models. Sony A230 RAW files converted with ACR did much better, scoring in the top 10 cameras we've tested to date.

To get some perspective, here's a summary of the Sony A230's dynamic range performance, and how it compares to other digital SLRs that we also have Imatest dynamic range data for. (Results are arranged in order of decreasing dynamic range at the "High" quality level.):

Comparing the Sony A230 to the rest of the market, its dynamic range in camera-produced JPEGs is pretty much in line with competing models. Adobe Camera Raw managed to boost the DR pretty dramatically, but as noted above, the extreme processing it's applying in the highlights would almost certainly result in color errors in strong highlights in highly-colored natural subjects; the actual dynamic range of the sensor is likely much closer to what we see in the JPEGs.

Sony A230 Resolution Chart Test Results

The chart above shows consolidated results from spatial frequency response measurements in both the horizontal and vertical axes. The "MTF 50" numbers tend to correlate best with visual perceptions of sharpness, so those are what we focus on here. The uncorrected resolution figures are 1,861 line widths per picture height in the horizontal direction (corresponding to the vertically-oriented edge), and 1,777 lines along the vertical axis (corresponding to the horizontally-oriented edge), for a combined average of 1,819 LW/PH. Correcting to a "standardized" sharpening with a one-pixel radius only changed the resolution score by only a tiny bit, for an average of 1,801 LW/PH, which is nearly identical to the Sony A330's results. The corrected numbers put the A230 pretty much on par with its 10-megapixel competitors.

To see what's going on, refer to the plots below, which show the actual edge profiles for both horizontal and vertical edges, in both their original and corrected forms. Here, you can see that an almost ideal amount of in-camera sharpening is applied in the horizontal direction (oversharpened by only 1.4 %), while in the vertical direction, Imatest reports only slight undersharpening of 0.47%. This is why standardized sharpening didn't change the MTF 50 numbers by much. Despite the reported slight undersharpening, though, there are still sharpening artifacts present (the "bumps" in the curves below): For the best results with images that will be sharpened in an image-processing program like Photoshop, you'll want to dial down the in-camera sharpening somewhat to eliminate these. (Or, just work from RAW files.)

These are very good results. Still, (as is almost always the case), you'll extract the most detail from the Sony A230's images by careful processing of its ARW RAW files.

Shooting Modes

Sony A230 Modes & Menus

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Press Release

SONY INTRODUCES THREE MAINSTREAM ALPHA CAMERAS
DESIGNED FOR FIRST-TIME DIGITAL SLR BUYERS

SAN DIEGO, May 17, 2009 – Sony is making it easy for first-time digital SLR buyers to step up from point-and-shoot digital still cameras with the introduction today of three new easy-to-use α (alpha) cameras (models DSLR-A380, DSLR-A330 and DSLR-A230), four new lenses, a flash and accessories.

Uniquely Matched to Customers’ Needs

The new cameras are designed to overcome challenges faced by many customers taking their first steps in DSLR photography. Without compromising performance and versatility, the new models are smaller, lighter, easier to use and offer innovative expansion options not found in other systems.

“Our new alpha cameras, lenses and accessories make it easier for new users to get the great photos they expect without the steep learning curve that DSLRs have traditionally required,” said Kristen Elder, senior manager for the alpha business at Sony Electronics Inc. “By overcoming the obstacles, we’ve made it much easier for newcomers to take great pictures with DSLRs.”

Light and Compact

The 10.2 megapixel α230 camera is the lightest, most compact alpha DSLR camera body ever at 15.9 ounces. The 10.2 megapixel α330 and the 14.2 megapixel α380 cameras are also smaller and lighter than their predecessor models (the DSLR-A300 and DSLR-A350, respectively). These cameras are also more compact and feature an intuitive control layout that allows for easy single-handed operation.

SteadyShot INSIDE™ in-camera image stabilization is built into each camera body, so every α-mount lens benefits from the ability to minimize blur due to camera shake.

Quick AF Live View System

Both the α380 and α330 cameras offer Sony’s Quick Autofocus (AF) Live View technology, so you can frame photos on the camera’s LCD screen as well as in the optical viewfinder. Through the use of a dedicated image sensor, Quick AF Live View maintains the rapid response of a DSLR, while avoiding the focus delay common to other live view systems.

The new cameras feature a 2.7-inch (diagonally) Clear Photo LCD™ screen that is easy to view even in bright sunlight. Additionally, the LCD on the α380 and α330 models can be tilted up or down, making it easy to frame your subject from high or low positions, otherwise difficult to see using an eye-level viewfinder. The range of adjustment has been increased from their predecessors, making it even easier to get shots from difficult angles.

By combining Quick AF Live View and an adjustable LCD, users can frame the scene without holding the camera in front of their face, allowing parents, for example, to maintain eye-contact when photographing their children for more natural expressions.

An HDMI™ terminal gives you the option of connecting your camera to a compatible HDTV and playing back your images in high definition quality (HDMI cable required, sold separately). Additionally, BRAVIA® Sync™ works with compatible Sony® BRAVIA HDTVs to let you control camera playback using the television’s remote (HDMI cable and BRAVIA Sync capable HDTV required, sold separately).

The new cameras include dedicated slots for high-capacity Memory Stick PRO Duo™, Memory Stick PRO-HG Duo™ and SD/SDHC media (sold separately).

Built-in Help Guide

The α380, α330 and α230 models are Sony’s first DSLR cameras to feature a graphical user interface (GUI) with built-in on-screen Help Guide.

The Help Guide offers clear, concise explanations of various modes and settings, while the Graphic Display helps you understand the relationship between aperture and shutter speed, as well as the effect each has on photographic results.

Systems, Lenses and Flash

Making it easier for first-time DSLR users to get started, the new Sony cameras come in camera-and-lens packages. In addition to the two new standard zoom and telephoto lenses that are offered with the camera bodies, the company introduced new portrait and macro lenses. These purpose-built lenses make it much easier to obtain professional-looking, creative results.

Optimized for use with APS-C sized image sensors, these lenses feature a Smooth Autofocus Motor (SAM) that enables in-lens auto focus (AF) drive for smooth, quiet operation, and high optical performance in a compact size. The DT 18-55mm F/3.5-5.6 standard zoom lens (model SAL-1855) incorporates aspherical and Extra-low Dispersion (ED) elements to provide an all purpose lens with outstanding image quality. The DT 55-200mm F/4-5.6 telephoto zoom lens (model SAL-55200/2) features an ED glass element and helps bring distant subjects closer, ideal for capturing sports. Both the SAL-1855 and SAL-55200 lenses are available separately, or packaged as kits with the new cameras.

To make the benefits of portrait and macro photography easier and more accessible, Sony is introducing a DT 50mm F/1.8 portrait lens (model SAL-50F18) and DT 30mm F/2.8 (model SAL-30M28) macro lens. The wide aperture SAL-50F18 lens helps users capture beautiful portraits with gently defocused backgrounds while the SAL-30M28 macro lens captures intricate close-ups. Both techniques are difficult to achieve with standard lenses.

To help users take better shots with flash, Sony offers an affordable, compact external flash unit (model HVL-F20AM) that is simple to operate. Unlike a camera’s built-in flash, this external flash provides higher output (Guide Number 20), and enables users to bounce light off the ceiling to eliminate harsh shadows and achieve more even illumination when shooting indoors.

Pricing and Availability

Pre-orders will begin on May 18, 2009 at www.sonystyle.com/retail and at selected retailers nationwide. The cameras and a range of accessories will be available in July at Sony Style® retail stores (www.sonystyle.com/retail), at military base exchanges and at authorized dealers nationwide.

The α380L, α330L and α230L will cost about $850, $650 and $550, respectively. The L series one-lens kit comes with the SAL-1855 standard zoom lens.

The α380Y, α330Y and α230Y will cost about $1050, $850 and $750, respectively. The Y series two-lens kit comes with both the SAL-1855 standard zoom and SAL-55200 telephoto zoom lenses.

• The SAL-1855 standard zoom lens will cost about $200.

• The SAL-55200 telephoto zoom lens will cost about $230.

• The SAL-50F18 portrait lens will cost about $150.

• The HVL-F20AM flash will cost about $130.

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