Sony r1 cameras. Sony DSC-R1 camera review - review Sony Cyber-shot DSC-R1
Not everything is better, what is more expensive
To put it simply, there are two main types of cameras - with interchangeable and non-replaceable (mounted tightly into the "body" of the camera) optics. In the overwhelming majority of cases, the concept of "camera with interchangeable lenses" is synonymous with the concept of "reflex camera" - they are also called simply " DSLR". Key Feature"SLR" is an optical viewfinder, somewhat similar in principle to a periscope. There is an opinion among the inhabitants that "DSLRs" are always better cameras with fixed optics. Since the topic of today's article is a camera, which is precisely designed to argue with "DSLRs" on many issues, but at the same time it has fixed optics and an LCD viewfinder (that is, it not a mirror), let us once again speculate a little on the topic.
When talking about the quality of photographs, many people confuse cause and effect. SLR cameras with interchangeable lenses, as a rule, are really provide higher image quality than non-reflex digital cameras with fixed lenses. But "DSLRs" are better not only because the lens is removed from them, and not because the design uses a prism or mirror, and certainly not because the viewfinder of such cameras is optical, not digital. Everything is much more complicated and at the same time easier. Like a marker and a brush. To beautifully write "Vasya was here" on the fence, a simple felt-tip pen is enough. If desired, having a set of felt-tip pens, you can draw a rather impressive picture.
Lens kit for SLR digital Sony cameras Alpha A100.
But the artist, picking up a brush, is able to paint a picture, looking at which you will be amazed at the liveliness and how the moment is conveyed. And the value of the picture is not in that expensive natural fur brush with which the artist painted, not in the palette, not in the chemical composition of paints, but in artist's hands. And a child can pick up a brush, but only a true professional can handle a brush and paints in such a way that a masterpiece is obtained. Therefore, to say that to create a masterpiece it is enough to buy an expensive brush in a store, as you understand, is extremely wrong.
SLR cameras are a kind of brush, which in itself has no value, but in the hands of an artist is capable of much that is inaccessible to a simple felt-tip pen. Photographic equipment is created for various destinations. Mirrors were originally created for professionals who have to work in a variety of conditions. For example, with the same camera, a person can photograph bees for almanacs, capture impressive seascapes for glossy travel magazines, shoot low-flying fireballs in Monaco from hundreds of meters away for a report in a sports newspaper, or work on a portfolio of female models in a studio. where everything is flooded with special light. Of course, usually professional photographers have some specialization and do not hit anything, but in general, an interchangeable lens camera gives a lot of flexibility.
Canon 350D with EF-S 17-85 IS USM lens (set price about $1500).
However, the presence of interchangeable optics, in itself, is not a guarantee of quality. Moreover, it may well happen that a very inexpensive Canon 350D with a very expensive lens will give better results than a super-expensive Canon 1Ds Mark II with a couple of hundred dollars optics. And sometimes it is much more difficult to choose the necessary "glass" than to choose the optimal processor, video card or monitor for a computer. In addition, digital SLR cameras with interchangeable lenses have their own Problems. In particular, their mechanism is such that before shooting, the mirror must rise so that light hits the matrix, which is located behind the mirror. When working at slow shutter speeds, even such a seemingly insignificant vibration can blur the frame. Even when shooting with a tripod, when you do not touch the camera with your hands. In addition, the sound of lifting the mirror is very loud, and it is well audible. If you want to photograph something inconspicuously, then a SLR camera will not allow you to do this.
Another problem is the ingress of dust on the matrix when changing optics. You also have to deal with this either on your own (a cleaning kit can cost like a good digital "soap box"), or with the help of service center specialists. In addition, the "reflex camera" requires more serious skills. After all, without having an LCD preview, you can't judge in advance whether the frame will be too dark or too light.
Removing dust from a DSLR sensor is a real challenge.
There is another important point. The SLR camera is not only expensive in itself. In addition to the cost of the camera itself, it is necessary to take into account the cost of other professional accessories and, above all, optics. A good lens is a very complex optical-mechanical device that uses lenses and materials. highest quality. Leading manufacturers carefully monitor the quality of lenses, and the process of their production is quite complicated. One lens can cost several thousand dollars. Let's say a 300mm telephoto lens for the recently introduced Sony Alpha A100 costs $7,000, and a good everyday lens from Carl Zeiss 24-120mm with a relative aperture from f / 3.5 at wide angle to f / 5.6 for the same camera the catalog costs about $700. Add that to the cost of the camera itself ($1,000) and you get a total price of $1,700 or more. Although, of course, you can buy cheaper lenses with a similar focal length, but they will probably not reveal the capabilities of the sensor, and they will have their own image quality problems - darkening at the edges of the frame, all kinds of aberrations, vignetting, and so on.
Not the most complex lens in the context.
This problem leads to another. If you once chose a camera manufacturer and purchased a set of optics, then your next camera will most likely be from the same company, simply because a set of expensive lenses will not fit a camera from another manufacturer. Often even flashes are not compatible, not to mention battery packs, cables, light control systems, etc. Minolta, Nikon, Canon and Pentax accessories are not compatible with each other. Therefore, deciding to sell both the camera and several lenses, a flash and other accessories is much more difficult than just changing an outdated device with non-replaceable lenses.
There is one more moment. Not everyone needs the flexibility that interchangeable lenses provide. Even professionals have such a thing as "primary lens" - this is the lens with which the photographer works most often. If he needs some special conditions (to make a particularly outstanding macro, or vice versa, to shoot from a long distance), then he unfastens the main lens and installs a special one. But still, most of the time, the same optics are connected to his SLR camera. Well, if a person shoots for himself, for pleasure, then sometimes just one universal lens is enough for him, which gives good opportunity for shooting at wide angles for landscapes, can be used for portraits, and also allows you to zoom in on distant objects, such as photographing the Egyptian pyramids or lions during a safari. For obvious reasons, few people would like to pay too much for a camera, although there are those who believe that only the most expensive equipment allows you to take good pictures. They are wrong.
Not properly convince yourself that if you fall into your hands Canon 5D worth $3,500 for the "carcass" and five lenses for another $4,000, plus a flash for $600 and a professional "photo disk" of a hundred gigabytes, and a set of filters and a super-expensive tripod, then you can take a picture that is superior in quality and expressiveness to what can get an enthusiast who owns some simple Canon 350D, or even a "photo camera". Moreover, it is not certain that all work camera. You wouldn't be buying a super-expensive professional car tool kit licensed to an authorized auto repair shop when all you need to do is pump up a tire or swap out winter tires for summer tires, would you? And the last argument in favor of non-mirror technology - professional tool does not have to be very compact. Agree, if in the city it is easier to park on some Smart, then it is still better to carry the breed on BelAZ. Therefore, SLR cameras are usually very massive, and together with optics and accessories can weigh several kilograms. And since the sizes of the sensor and optics are interconnected in a certain way, the sensors in professional cameras are also installed larger. And consequently, the "noise" is less, and the sensitivity is higher, and some other advantages arise. Hence, there is some advantage in the technical quality of photographs (the dynamic range is wider, the sensitivity is higher, there is less "noise"). But but only.
At the same time, due to the massiveness, the lack of a rotary viewfinder, the prospect of dust getting on the matrix, the inability to see an almost finished frame on the LCD screen when hovering, and a number of others professional features, mirror technology was and still is for those who have already left the category of amateurs. It is sometimes too complicated, and in some places completely inconvenient for those who simply would like to get a good shot without unnecessary complications for a family photo album. And here is an interesting niche. There are many consumers who are not ready to spend thousands and thousands of dollars on photographic equipment and accessories, but would like to get something more than just a digital camera. These people would like to get good pictures, but since they do not earn money from photography, or are simply not rich enough, the cameras of the level Canon 5D or even the Nikon D200 remains an unattainable dream for them.
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This segment, relatively young in the "digital sphere", is also interested in cameras that can compete in quality with something like the Canon 350D or Nikon D70, which are bundled with a simple lens up to $900. As an alternative, such a consumer (and this, as you will see below, is quite logical) considers cameras with non-replaceable optics, as a kind of compromise between price and quality. The topic of today's review is the camera Sony R1- in many ways a unique camera, and also affordable. It is especially interesting to look at it today, when sales have begun and active advertising campaign new "DSLR" Sony Alpha A100. For obvious reasons, many were waiting for the announcement of this camera, without deciding for themselves whether to take the R1 or wait for a more powerful, theoretically, model. Today we will also devote part of the article to this topic.
Megapixels and optics: what is more important and why
Before we finally get to the description Sony R1, let us dwell on the "megapixel issue". This is a very old topic by the standards of the computer industry. Before, and today, a person is "measured" by something, but very often, when choosing a criterion, people are mistaken. This is also the case with those same megapixels.
If the camera has 10 megapixels, like Sony R1, then at the output you get a picture with a resolution of 3888x2592 (10,077,696 pixels). An eight megapixel camera Sony DSC-F828, released three years ago, and the latest Canon 30D provide a resolution of 3504x2336 (3264x2448 for the Sony 828). A five-megapixel Sony F717 gives 2560x1920, and a little more than a two-megapixel Sony F505V, very old and long forgotten, is about 1856x1392. Simply put, compared to the 8-megapixel camera, the newest 10-megapixel camera has an additional 384 dots vertically and 256 dots horizontally. Agree, these figures do not look as impressive as 10 million against 8 million. The following illustration demonstrates the ratio of megapixels more clearly.
It is important to understand this because both on a regular TV and on a 32" LCD panel from a distance of two meters, a picture at a resolution of 640x480, that is, only 0.3 megapixels, looks great, and for a print of 10x15, if you look at it without a magnifying glass , but as is usually done - at a distance of about half a meter in a photo album, often one and a half megapixels is enough.Trick question: what do you think will look better when printed - taken by a modern compact seven-megapixel "soap box" for $ 350, or a well-worn an old 4-megapixel Olympus E-10 that used to cost $2,000 and now sells for $250 at flea markets, with its fast optics and wide dynamic range?
Original, crop (for printing) and 100% zoom of the same frame taken at help from Sony R1.
More a high resolution matrix becomes critical in several cases. For example, when you crop material that has already been shot, cutting out only the bust from a full-length portrait (of course, it would be more correct to reshoot the frame), or if you print formats larger than 10x15 - A4 or even A3. But even in this case, a lower resolution sensor with high-quality optics is better than a "multi-megapixel" tiny sensor, "noisy", equipped with "soapy" optics. It is important to understand that megapixel size is not important for a digital camera. Even with a very expensive Canon 1Ds Mark II with a 16-megapixel sensor and a professional lens that costs a couple of thousand dollars in itself, it is impossible to take a sharp, contrasting and detailed photo through the windshield of a ten-year-old car scratched to translucency. It is not for nothing that very complex and containing a large number of excellently polished lenses, coated and wide aperture lenses cost well over a thousand dollars a piece.
Against their background is the plastic transparent substance that is used in a compact camera, not to mention the lenses cell phone, it's just " dirty car glass". If we continue the analogies, then even a picture taken through a clean window glass will turn out to be not as sharp and contrasting as taken on the street, so cheap interchangeable lenses, or standard ("whale") lenses for "DSLRs", this is far from the best choice. By purchasing a better lens for a SLR camera, you can sometimes get a phenomenal improvement in the technical quality of pictures.
Sony cameras - a bit of history
Sony once made digital DSLRs a long time ago and is even considered the world's first seller of a digital camera. That is, many companies invented and even produced prototypes of digital cameras even before Sony, but it was the first to release such a device on store shelves.
Sony Mavica: Sony's first digital SLR was released in 1981.
Sony Mavica 1981: circuit diagram reflex camera.
Then, however, Sony turned the direction of digital "SLRs" and over the years produced cameras of various types - both writing to floppy disks, and writing to CD / DVD, and slightly larger than a business card, and rather massive examples, but ... all of them were without interchangeable optics, and non-mirror. Sometimes it is customary to say that the top models of Sony cameras belong to the class of "transitional" cameras. We do not like this term at all. After all, we don’t call hedge trimmers “transitional” simply because the Ministry of Emergency Situations has a tool of a similar design for extracting victims of an accident from a mangled car.
Back in 2000, Sony released the DSC-F505 camera, which became the basis for many subsequent models, and in a sense, the "great-great-grandmother" of the Sony DSC-R1, which today's article is devoted to. Modest by modern standards, the 2.6-megapixel camera had a rather unexpected design - its lens could rotate up and down relative to the body. It turned out to be very convenient for everyday shooting. In particular, with the help of the Sony F505 it was convenient to shoot both bending down - "from the ground" and holding the camera above your head. Whether this type of construction is more convenient or whether a reversal screen is better, like most cameras from other companies, we will not argue today, especially since latest model with this design was an eight-megapixel Sony DSC-F828, introduced in August 2003, that is, almost three years ago.
Camera Sony F505 (2.6 megapixels, 2000).
A place in Norway. Shot by Sony F505 camera, photographer Steve Wit.
Between the 2-megapixel F505 and the 8-megapixel F828, quite a few cameras came out, ranging in resolution from 3 to 5 megapixels, each of which was positioned in the upper segment of the amateur market. These cameras were not intended for experienced professionals who make money from photography, but for those who shoot for their own pleasure. In addition to the original body design, they all had other interesting features - good optics. AT Sony DSC-F828, for example, fast coated optics Carl Zeiss T * 28-200 f / 2-2.8 (zoom about 7x) was installed. This camera was also able to record video with a quality close to VHS (MPEG2, 640x480, 30 frames per second), shoot in the dark in IR rays, supported the RAW format, etc.
But it also had many drawbacks - a small 8-megapixel matrix was very "noisy" at any sensitivity, RAW files were recorded on a memory card for a very, very long time, and it was possible to shoot in batch mode no more than 8 frames in a row in JPEG format, and none in RAW format, because to reduce the cost of the camera, a large buffer was not placed on it.
Camera Sony DSC-F828(8 megapixels, 7x zoom, 2003).
It wasn't until 2006 that Sony announced and began selling its first interchangeable-lens SLR camera in years, the Sony Alpha A100. As already mentioned above, including for this reason Sony R1 caught our attention today. This camera has been on sale for a little less than a year and, according to many sellers, is a bestseller in its price category. Should I now write it off and start saving for the Sony Alpha A100? Does it make sense for owners of previous Sony cameras to switch to R1 or is it better to get an A100 DSLR? These and many other questions will be discussed in the article today.
Camera Sony Alpha A100. Russian premiere July 5, 2006.
Sony R1: characteristic features
Digital reflex cameras (SLR) are a great invention of our time. They have already won the attention of the vast majority of professional photographers, especially those who need quick photography. A few years ago, digital SLR cameras became available to a wide audience of amateurs. The Sony DSC-R1 is aimed at those users who need the quality of a "DSLR" and at the same time a single lens is enough. At Sony R1 There are two salient features that make it stand out from the many other fixed lens cameras. Firstly, this is a large sensor (21.5x14.4 mm), the so-called APS-C format. The same size sensors are found in the Canon 350D, Nikon D70 and many other entry-level to mid-range DSLRs. Secondly, this is a Carl Zeiss T* 24-120mm aperture lens with aperture ratio f/2.8-4.8, designed specifically for this camera.
Sony R1: overall design
A large sensor should by design be used with a large lens. The creators of the camera are also forced to enlarge other elements of the camera. Eventually Sony R1 turned out to be by no means the most compact and light model, even compared to entry-level digital SLRs. Of course, Sony R1 don't carry it in your pocket. Except in the biggest one. And you can’t wait for the approach with a couple of buttons, like in ordinary “soap dishes”, the camera is equipped with a large number of controls, including buttons, dials and wheels, like in traditional SLR models with interchangeable lenses. By purchasing chic optics and a large sensor, Sony R1 learned how to make videos. Perhaps our disappointment at this will surprise those who are used to SLR cameras, but it will certainly upset those who have used Sony F828- the previous Sony camera of the same class.
Sony R1 sensor: much more than that Sony F828, but less than the top "DSLRs". For example, in the Canon 350D, the sensor measures 22.2 x 14.8mm. In the most expensive cameras, a larger sensor is installed. For example, in the Canon 1Ds Mark II ($7500) it measures 36x24mm.
Photo gallery and sample shots
Traditionally, we provide our reviews with additional illustrations. Below you will find both pictures that were taken by the camera in JPEG format + uncompressed sources - more than 100 MB of pictures in total, photos taken in RAW and processed both in a converter and in a graphics editor. And finally, photos of the camera itself from various angles in high resolution. To see a larger image, you need to click on its icon.
Camera
camera type compactLens
Focal length (35mm equivalent) 24 - 120mm Optical Zoom 5x Aperture F2.8 - F4.8 Lens name Carl Zeiss Vario-Sonnar Number of optical elements 12 Number of groups of optical elements 10 Features aspherical lensesMatrix
Total number of pixels 10.8 million Number of effective pixels 10.3 million APS-C size (21.5 x 14.4 mm) Crop factor 1.7 Maximum Resolution 3888 x 2592 Sensor type CMOS Color depth 42 bit Sensitivity 160 - 3200 ISO, Auto ISOFunctionality
white balance auto, manual installation, from the list Flash built-in, up to 8.50 m, red-eye reduction, shoe, sync contactShooting modes
Macro shooting Yes Shooting speed 3 fps Maximum burst 3 for JPEG Timer yes Timer running time 10 s Aspect ratio (still image) 3:2 On time 0.68 sViewfinder and LCD screen
Viewfinder electronic Using the screen as a viewfinder there is Viewfinder pixels 235000 LCD screen 134,000 dots, 2 inches LCD screen type swivelexposition
Manual setting shutter speed and aperture there is Automatic exposure processing shutter-priority, aperture-priority exposure compensation +/- 2 EV in 1/3-stop increments Exposure metering multizone, center-weighted, spot Exposure bracketing there isFocusing
AF illuminator there is Manual focus there isMemory and interfaces
Memory card type CompactFlash, CompactFlash Type II, Memory Stick, Memory Stick Duo, Memory Stick Pro Duo Image formats JPEG (2 levels compressed), RAW Interfaces USB 2.0, video, remote control connectorFood
Battery format your own Number of batteries 1 Battery capacity 1200 mAh or 500 photos There is a power connectorVideo and audio recording
No video recording Maximum frame rate when shooting HD video No sound recordingOther functions and features
Housing material plastic Digital Zoom 10x Additional features tripod mount Equipment Sony DSC-R1 camera, lens cap, lens hood, Li-ion battery NP-FM50 (1200 mAh), Charger/ AC adapter AC-L15 Announcement date 2005-09-07 Out of production YesDimensions and weight
Size 139x168x97 mm Weight 929 g, without batteries; 1047 g, with batteriesBefore buying, check the characteristics and equipment with the seller.
- Lens - 24-120mm 35mm equivalent, f/2.8 - f/4.8;
- CCD - 10 megapixels (3888x2592);
- LCD - 2.0 inches, 134,000 pixels;
- Data storage - CompactFlash and MemoryStick memory modules;
- Interfaces - video output, USB port, power socket, ACC connector;
- Power - lithium-ion battery NP-FM50 (7.2 V, 1200 mAh);
- Dimensions / weight - 139x168x97 mm / 995 gr;
- Data formats - JPEG, RAW.
Although certain categories of cameras have taken shape in digital photography, there remain “border areas” between them, and large enough for an outside observer to be surprised at the absence of any models in these areas. First of all, this concerns the class of so-called "pseudo-DSLRs", or in other words prosumer (from professional + consumer, that is, "advanced" amateurs) cameras, the progress of which has literally froze over the past couple of years. In many respects, this state of affairs is due to the rapid drop in prices for inexpensive digital SLRs, like the Canon 350D or Nikon D70 - some users of "pseudo-SLRs" secretly always wanted to have a "real camera", meaning by this the presence of interchangeable lenses, and only high price stopped them from buying a SLR camera. At the same time, the jumping mirror causes a large distance between the output lens of the interchangeable lens and the plane of the CCD matrix, which leads to an increase in chromatic aberrations, and the bayonet connector is a source of dust entering the camera.
On the other hand, the focal length range of the lens of any "pseudo SLR" covers the needs of most amateur photographers. In addition, the absence of a mirror lift unit allows you to minimize the distance between the output lens of the objective lens and the matrix (this leads to a decrease in the level of chromatic aberration) and get rid of the shaking that accompanies the mirror jump to the top position. However, the advantage of a digital SLR camera lies not only in interchangeable lenses - the use of large-sized matrices (the size of an APS-format frame) allowed DSLRs to take pictures with a wide dynamic range, as well as shoot with increased equivalent sensitivity.
It is obvious that relatively lazy (that is, those who do not want to carry a trunk full of interchangeable optics), but at the same time demanding on the quality of pictures, amateur photographers would like to have in operation a camera equipped with a constant high magnification lens and a large matrix, that is, a kind of hybrid of two DSLRs - pseudo and real. The idea of creating such a hybrid, in addition to commercial risk, is fraught with technical problem- large-sized CCD-matrices of SLR cameras, unlike amateur models, are covered with a mirror and shutter until the shutter button is pressed, and therefore do not participate in the process of preparing for shooting. Pseudo-mirrors, on the other hand, form an image in the viewfinder not with the help of an optical path, but by broadcasting a video signal from a CCD matrix to an LCD display. Therefore, it was necessary to create a large-sized CCD array with a high data readout speed.
Concern Sony first decided to develop such a hybrid, especially since he has a rich assortment of CCD matrices for both amateur cameras and SLRs. Since the dimensions of each element for a sensor of such dimensions are also quite large, it was decided to use CMOS technology. This technology involves the conversion of the charge accumulated by the photocell into an electrical signal directly "inside" each pixel. In the production of small-sized sensors, the piping of each pixel "eats up" most of the usable area of the recording device, but with large sensor sizes, the piping losses are relatively small. But at the same time, all the advantages of CMOS technology can be used - a high speed of signal pickup, the absence of complex microcircuits that provide the implementation of an electronic shutter and reading data from a CCD matrix, reduced power consumption, as well as a significantly lower cost in the production of sensors.
The resulting 10 megapixel (3888x2592) CMOS sensor was 2.4 times wider and 2.2 times taller than the DSC-F828 CCD, Sony's predecessor flagship digital prosumer camera. Therefore, the sensitivity and dynamic range of the Sony DSC-R1 camera, equipped with a new sensor and introduced in November 2005, should also have been increased.
Externally, the camera is not at all similar to the previous “breaks” DSC-828 and DSC-717. Most of all, the DSC-R1 resembles the amateur DSC-D700 DSLR, built according to the scheme with a splitter prism - a massive ergonomic body and a non-replaceable zoom lens with large diameter lenses. However, instead of an optical viewfinder, the DSC-R1, like any pseudo-DSLR, is equipped with a miniature LCD viewfinder.
The camera will automatically switch to the LCD viewfinder if the corresponding switch is in the “auto” position and the viewfinder window is obstructed. The viewfinder LCD has a high resolution (235,000 pixels) and low noise, but the slow frame rate gives the image an "electronic" quality. It should be noted that in the same Olympus C-8080, the picture in the LCD viewfinder is clear and instantly tracks the "yaw" of the lens - it creates a complete illusion of a "real SLR".
Compared to any of Sony's previous "breakthroughs", the ergonomics of the large (139x168x97 mm) and heavy (995 g) DSC-R1 certainly wins. A deep ledge on the left side of the front panel provides a secure hold of the camera, and the ledge has a kind of "eyebrow" resting on the finger of the right hand. On the back panel there is also a protrusion with an “eyebrow” - a hollow rests on it between the index and thumb of the right hand.
Speaking about the similarity with the DSC-D700, one cannot fail to note the somewhat worsened balance of the DSC-R1 - the new camera outweighs the lens, so holding it with one hand is inconvenient. However, the focal length adjustment of the lens is carried out exclusively by the crown ring on the lens barrel, so the user will have to hold the camera with both hands anyway.
The photographer will also need both hands in order to use the numerous controls that are literally littered with the camera body. At the same time, the right side of the rear panel of the camera, which is easiest to reach with the thumb of the right hand, has noticeably fewer buttons and switches than the left side. Obviously, the developers understood that, by compensating for the shifted balance of the camera, the user would squeeze it firmly enough with his right hand and he would not be able to weaken the hold with his thumb manipulations.
For a fairly modest (compared to most pseudo-DSLRs) range of focal lengths (24-120 mm in the equivalent of a 35 mm camera), the optical system has quite solid dimensions, which is caused by the use of a large-sized CMOS matrix. Unlike conventional DSLRs, the DSC-R1 autofocus zoom lens extends a “trunk” out of its shaft as the focal length increases, the length of which is almost equal to the length of the shaft itself. Changing the focal length is not done by a servo, but manually, so it takes a fraction of a second. Turning on the camera is just as lightning fast - just turn the switch, combined with the shutter button, as the camera is ready to shoot. In the off state, the objective lens is covered by the supplied detachable cap.
One of Sony's truly ingenious developments was the holographic autofocus backlight system, which drew a bizarre pattern on the surface of the photographed object using a low-power laser. This pattern was visible even in pitch darkness and made it possible to sharpen the lens with extreme accuracy. Unfortunately, the developers of the DSC-R1 did not equip it with such a wonderful device, limiting themselves to a trivial autofocus assist lamp located to the left of the flash and giving a blurry amber light spot. In total darkness this device allows you to "catch in sight" objects at a distance of 4 (in the wide-angle range of optics) to 2 (in the long-focus mode of the lens) meters. It is worth noting that the automation at the same time copes even with “pointing” at low-contrast objects. All the more strange is the fact that in normal lighting, quite often in long-focus mode, autofocus warns that it will not be able to aim the lens even at objects with a clearly defined contour, and the backlight does not work (obviously, the backlight is inactive and the problem is caused). In addition, at maximum focal lengths, the focusing speed drops noticeably.
When focusing manually, the image in the viewfinder grows twice, and the focusing distance is reflected in the lower left corner, which changes when the crown ring on the lens rotates. If the user is not confident in his "accuracy", you can press the autofocus button.
A lens hood is included with the camera to prevent unwanted reflections in pictures taken in bright sunlight. The lens hood is installed via a bayonet connector on the "muzzle", which is also equipped with a thread with a diameter of 67 mm, which allows you to attach a wide range of filters and converters. Sony itself offers a VCL-DEH17R teleconverter (1.7X magnification), a VCL-DEH08R wide-angle attachment (0.8X magnification), a VCL-M3367 macro lens, a VF-67CP polarizing filter, and a VF-67ND neutral gray filter.
In the “hump” hanging over the lens, there is a built-in flash that flips up. Unfortunately, the design of the hinge leaves much to be desired - the emitter does not rise high enough to eliminate the risk of "red eyes" in the pictures. But the flash power deserves all praise - when shooting at 6 meters in pitch darkness, the light pulse provides a complete study of all shadow areas of the frame. An additional plus flash is an extremely short recharge period of its capacitor.
It should be noted that the DSC-R1 got rid of the "family ailment" of Sony photographic equipment - a stochastic metering error when shooting with a flash, leading to catastrophic overexposure of the frame. At the same time, the photographer has at his disposal a flash pulse duration adjustment (from +2 EV to -2EV, where EV is the exposure number), which allows you to accurately “meter out” the brightness of the backlight of the subject.
In cases where the power of the built-in flash is not enough, the user can connect an additional one. To do this, the DSC-R1 is equipped with a TTL shoe that supports the HVL-F32X flash in TTL mode and any other flash in auto (using a flash meter) and manual modes.
The location of the "shoe" cannot be called "standard" - it is located at the very edge of the top panel behind the shutter button. This placement is due to the unusual location of the LCD (this will be discussed later), and, for all its unusualness, it has certain advantages. First, as already mentioned, the balance of the camera is shifted towards the lens, so mounting the flash on the opposite edge of the camera will not add a “tipping moment”. Secondly, with this arrangement, the emitter moves away from the optical axis of the lens, thereby reducing the risk of “red-eye” appearing in the frame.
AT model range Sony flashes have the HVL-F1000, which can also be installed in the "shoe", but there are no contacts on its surface for initiation. To use this flash model, you need to connect it to the camera via the “ACC” socket located on the right panel of the body under a plastic cover covering all DSC-R1 interfaces.
The developers of each pseudo-SLR strive to give their offspring the ergonomics of a SLR camera, and, following this rule, the creators of the DSC-R1 equipped their camera with an abundance of buttons and switches. However, unlike most pseudo-DSLRs, there are very few controls on the top panel of the DSC-R1 - the switch lever combined with the shutter button, and the ISO button, in combination with the main vernier, controls the equivalent camera sensitivity (from ISO 160 to ISO 3200, as well as automatic selection sensitivity).
Perhaps the main external difference new camera from the DSC-D700 is the location of the LCD. However, its design is not similar to any of the existing cameras - the display is located on the top panel of the camera, immediately behind the flash. It is mounted on a bracket that is installed at the junction of the top and rear panels and can tilt back and forth within 120 degrees - 90 degrees (from the vertical) forward and 30 degrees back.
In addition, the LCD can be rotated around the axis of the bracket, so it can be turned face down and folded forward to prevent damage. When the LCD is folded down with the screen facing upwards, the DSC-R1 becomes like a medium format camera with a shaft viewfinder ideally suited for waist-down shooting - just hang the camera around your neck after adjusting the length of the strap (to secure this included accessory, there are strong swivels on the left and right panels of the body). You can shoot with the screen turned up and without a strap - for this you need to put the camera on the palm of your left hand, resting on your chest. You can take self-portrait pictures by turning the LCD monitor face-first.
But for cropping in the normal position, the LCD display is not well adapted. To keep track of the image, you have to constantly lower the camera, which is why the subject regularly “slips out” of the frame. The screen is also of little use for shooting "above the crowd" - a small angle of inclination back, combined with the high position of the LCD display, does not allow you to see its contents. In fact, the developers of the DSC-R1 force the user to shoot with the camera exclusively as a DSLR (with sighting in the LCD viewfinder), and this cannot be considered a plus of the camera, especially considering the Olympus E-330 and Panasonic Lumix DMC-L1 DSLRs that have appeared, providing video signal output to articulated LCD display. On the bottom panel of the camera, a tripod socket is located exactly on the optical axis of the lens. It is made of metal (to support the considerable weight of the camera) and is equipped with a large support pad, the shape and material of which prevent the tripod head from slipping.
Inside the tab for holding the camera is the battery compartment, the compartment cover is located on the bottom of the camera.
The arrangement of buttons and switches on the rear and right panels of the DSC-R1 indicates that its developers have taken into account many years of operating experience. digital cameras. In particular, to the right of the LCD viewfinder is the “view frames” button, it is perhaps the largest of all buttons and is located on the edge of the viewfinder housing, so the user can easily find it by touch. Thus, the photographer at any time can view the captured frames on the LCD viewfinder, without looking up from his window. To return to shooting mode, just press the shutter button lightly, which saves time, which in some cases is really “precious”.
However, the largest control on the DSC-R1 is the auxiliary vernier located in the center of the rear panel, combined with a micro joystick. When shooting, this vernier is used for exposure compensation (for manual exposure - to select the aperture), when viewing pictures - for image scaling. The micro joystick is used to move through the menu items, and when shooting, when pressed, it switches focus modes - in the central area of the frame, multi-zone, spot with manual selection of the reference point using the micro joystick.
Above the auxiliary vernier is the "AE" button, in shooting mode it is used to lock the exposure, and when viewing frames, it deletes the user-selected image. To the right of it there is a button that controls the amount of information displayed on the screen both during shooting and when viewing frames.
In the upper right corner of the rear panel is the main vernier. The user can rotate it with the thumb of the right hand without loosening the girth of the camera. The main vernier in shooting mode is used for flexible exposure (selection of pairs of exposure parameters corresponding to the selected exposure), aperture or shutter speed selection (in priority modes of the corresponding exposure parameter), as well as shutter speed selection in manual exposure mode. In addition, in combination with the pressed buttons "ISO", "WB", "flash", "metering" and "shooting mode", the main vernier allows you to:
- adjust the equivalent sensitivity;
- adjust the white balance (“auto”, “sunny”, “cloudy”, “fluorescent”, “incandescent”, “flash”, “reference”);
- set the flash (Auto, Auto with red-eye reduction, Forced firing, Forced firing with red-eye reduction, Slow sync, Slow sync with red-eye reduction, "turned off");
- select spot, matrix or center-weighted metering;
- turn on the continuous shooting mode (series of 3 frames in 1 second) and bracketing (3 frames in steps of 1/3 EV, 2/3 EV and 1 EV).
When viewing frames, the main vernier serves to transition between shots.
In the lower right corner there is a switch that allows you to select one of the installed modules memory - MemoryStick or CompactFlash. Nearby there is an LED that lights up when the memory module is accessed.
Below the auxiliary vernier is a MENU button that displays and hides the camera's menu system. If you press this button long enough, the camera settings menu appears.
There are two switches below the LCD viewfinder. The left switch in the “FRAMING” position turns on the output of the highest quality image, allowing you to accurately frame the picture. In the “PREVIEW” position, the image on the LCD displays is extremely close to the final image set by the selected exposure, due to which errors in the choice of exposure parameters are especially noticeable.
The right switch is for selecting between LCD viewfinder (“FINDER”), LCD display (“LCD”) or automatic switching via the sensor next to the viewfinder.
Below the switches are four buttons. The left one is for switching exposure metering, the next one allows you to select the shooting mode. The far right button activates digital zoom when shooting, and zoom when viewing pictures. The button located to the left allows you to set the self-timer when shooting, and activates the index mode when viewing frames.
At the left edge of the rear panel is a mode switch that can be set to one of nine positions: “auto exposure”, “program exposure”, “aperture priority”, “shutter priority”, “manual exposure”, as well as four scenes (“night ”, “night portrait”, “landscape”, “portrait”).
The right side of the camera has a switch that controls the DSC-R1's autofocus operation. The user can select the mode automatic guidance sharpness, macro mode, and manual focus mode. A button used for manual focusing is combined with the focus switch - by clicking on it, the user activates autofocus once.
Above the focus switch, there are "WB" and "flash" buttons, with which you can adjust the white balance and camera flash.
The amount of information displayed on the screen can be "metered" by removing unnecessary information (when they interfere with seeing the photographed object) or adding the missing ones (histogram, "zebra" - an indicator of overexposed areas, framing lines). The shooting menu is designed to: select the resolution and degree of image compression, file format (JPEG / RAW), bracketing step, flash pulse duration adjustment, image effects (black and white, “old photo”), color space, saturation, contrast, and sharpness pictures.
The settings menu allows you to select: autofocus mode (single, continuous, tracking), digital zoom (enable/disable pixel interpolation), power saving, adjust time/date, enable/disable autofocus illuminator, and view the last captured image. In addition, you can turn on the image zoom in manual focus, select the synchronization at slow shutter speeds (first curtain or second curtain), switch the flash (built-in / optional), turn on / off the built-in flash auto pop-up, flicker reduction of fluorescent lights and output crop lines. Additional settings allow you to format the memory module, create/change a directory on the memory module, adjust the brightness of the LCD and LCD viewfinder, enable simulated shutter sound, "zebra" - the overexposure indicator, select the menu language, file numbering, USB port operation mode, as well as video output standard (NTSC/PAL).
When viewing frames, information on the LCD can also be adjusted, leaving a "blank" screen. For a more detailed study of the image, you can turn on the output additional information(flash mode, sensitivity, white balance, exposure settings and histogram - general and for each of the color channels), as well as use image scaling. A quick transition to the frame of interest is carried out in the index mode, which displays 9 pictures at once.
The playback menu allows you to: select a directory on the memory module, protect the frame from erasing, set up DPOF printing, enable a slide show, change the image resolution, and also rotate the frame 90 degrees clockwise / counterclockwise. Despite the use of a large sensor, the equivalent sensitivity of the DSC-R1, like every amateur camera, must be kept at a minimum. It is clear that the test results with ISO 1600 and ISO 3200 should not have had much hope, but even pictures taken with ISO 400 sensitivity are no good. Taken under incandescent lighting, they are replete with both yellow muslin of spectral noise, which is caused by the color temperature of the light source (the blue pixels of the recording matrix are less illuminated than green and red ones, since the spectrum of the incandescent lamp is shifted to the "warm" region), and the noise of the fixed shadow distributions. This indicates the "dips" of the spectral sensitivity of the sensor in the "blue" range, as well as the insufficient dynamic range of each element of the matrix.
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Despite the proud inscription "Carl Zeiss" on the "muzzle" of the lens, the level of chromatic aberrations of this optics cannot be called low. The blue border at the junction of the contrasting parts of the image is clearly visible not only in the edge areas, but also in the areas closer to the center of the frame.
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Macro photography was carried out at the maximum focal length, but the distance to the object being photographed was 26 cm. However, the larger the recording element, the more modest the macro capabilities of the camera - in DSLRs this problem is solved by installing a special macro lens, Sony offers the appropriate lens attachment VCL-M3367 .
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A high equivalent sensitivity can help with telephoto shooting in low light. To test the abilities of the DSC-R1, it was decided to remove the license plate from the hands of the car in the dim winter sun. At an equivalent ISO speed of 160, the picture was "blurry", but there was no noise in it. At ISO 400, the shot was sharper, but there was noise in the shadows. Finally, the shots taken at ISO 1600 and ISO 3200 abounded with multi-colored pixels of noise so much that even a clear reading of the sign did not allow them to be considered acceptable.
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A pink object on a white background was used as a test composition. Shooting in the sun did not reveal any problems - color reproduction and noise levels are within normal limits.
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When shooting a test composition under an incandescent lamp, the image is composed exclusively of shades of orange in the case of automatic white balance. A picture taken at ISO 160 shows no signs of noise. At ISO 400, fixed distribution noise becomes noticeable in the shadows. After setting the sensitivity to ISO1600, despite the general warm background of the image, a yellow mussel of spectral noise becomes noticeable in the image. In the shadows, the noise of a fixed distribution "clogs" the image with itself. At ISO 3200, the situation described for ISO1600 becomes even worse.
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By adjusting the white balance according to the reference, the color gamut of the entire composition is fully restored. The noise level is the same as when shooting in the "incandescent" mode.
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The test of the flash, carried out in complete darkness, did not bring any surprises. The autofocus illuminator kept the lens in focus, and color reproduction and exposure were impeccable. There was simply no noise in the frame. Exposure at ISO 80 was flawless, but at ISO 1600 and ISO 800 the camera produced an unacceptably overexposed image. Moreover, at high sensitivity values, even the combination of exposure compensation and flash pulse duration correction did not help, so it is better to shoot with flash at minimum sensitivity.
The camera saves pictures in RAW and JPEG formats on two types of memory modules - "native" for Sony MemoryStick, or CompactFlash type I and type II (shown in the picture). The modules are located in two slots, which are closed by one cover on the left panel of the camera. To remove the MemoryStick, you must press and release it, after which the module slides out of its slot. The CompactFlash module comes out of its slot by pressing the button below the slot.
The power source is an NP-FM50 (7.2 V, 1200 mAh) lithium-ion battery pack, which can only be charged inside the camera using the AC-L15A AC Adapter supplied. This solution cannot be called "successful" - a separate charger would be more convenient. Inside the compartment, the battery is held by a latch.
To the right of the focus control buttons under a plastic cover are (from top to bottom): the ACC connector, USB port, video output and power socket.
The DSC-R1 package does not shine with special richness: a CD with software, cables for video output and USB port, power supply, instruction manual, lens hood and shoulder strap. The camera does not even have a memory module in the kit, so the future user will not be able to limit himself to buying just one camera.
For all the unusual design of the DSC-R1, it should be recognized that the "alternative to the SLR" Sony failed to create. Not the sharpest autofocus, not the fastest LCD viewfinder, and most importantly, high level noise level puts this model in an intermediate position between pseudo-DSLRs and conventional entry-level DSLRs. Now it is difficult to judge whether other amateur cameras with a large sensor will follow this “hybrid”, since the steadily declining price of “budget” DSLRs (including the appearance of the first DSLR) calls into question the very existence of the “pseudo-DSLR” class.
Information about the make, model, and alternative names of a particular device, if any.
Design
Information about the dimensions and weight of the device, presented in different units of measurement. Used materials, suggested colors, certificates.
| Width Width information refers to the horizontal side of the device in its standard orientation during use. | 73.2 mm (millimeters) 7.32 cm (centimeters) 0.24 ft 2.88in |
| Height Height information refers to the vertical side of the device in its standard orientation during use. | 146 mm (millimeters) 14.6 cm (centimeters) 0.48 ft 5.75in |
| Thickness Information about the thickness of the device in different units measurements. | 8.89 mm (millimeters) 0.89 cm (centimeters) 0.03 ft 0.35in |
| The weight Information about the weight of the device in different units of measurement. | 154 g (grams) 0.34 lbs 5.43oz |
| Volume Approximate volume of the device, calculated from dimensions provided by the manufacturer. Refers to devices with the shape of a rectangular parallelepiped. | 95.01 cm³ (cubic centimeters) 5.77 in³ (cubic inches) |
| Colors Information about the colors in which this device is offered for sale. | The black Silver |
| Housing materials The materials used to make the body of the device. | Plastic |
SIM card
The SIM card is used in mobile devices to store data that certifies the authenticity of mobile service subscribers.
Mobile networks
A mobile network is a radio system that allows multiple mobile devices to communicate with each other.
| GSM GSM (Global System for Mobile Communications) is designed to replace the analogue mobile network (1G). For this reason, GSM is often referred to as a 2G mobile network. It is enhanced by the addition of GPRS (General Packet Radio Services) and later EDGE (Enhanced Data rates for GSM Evolution) technologies. | GSM 850 MHz GSM 900 MHz GSM 1800 MHz GSM 1900 MHz |
| UMTS UMTS is short for Universal Mobile Telecommunications System. It is based on the GSM standard and belongs to 3G mobile networks. Developed by 3GPP and its biggest advantage is to provide more speed and spectral efficiency with W-CDMA technology. | UMTS 850 MHz UMTS 900 MHz UMTS 1900 MHz UMTS 2100 MHz |
| LTE LTE (Long Term Evolution) is defined as fourth generation (4G) technology. It is developed by 3GPP based on GSM/EDGE and UMTS/HSPA to increase the capacity and speed of wireless mobile networks. The subsequent development of technologies is called LTE Advanced. | LTE 850 MHz LTE 1800 MHz LTE 2100 MHz LTE 2600 MHz LTE-TDD 2300 MHz (B40) |
Mobile technologies and data rates
Communication between devices in mobile networks is carried out through technologies that provide different data transfer rates.
Operating system
The operating system is the system software that manages and coordinates the operation of the hardware components in the device.
SoC (System on a Chip)
System on a chip (SoC) includes all the most important hardware components of a mobile device in one chip.
| SoC (System on a Chip) System on a chip (SoC) integrates various hardware components such as processor, GPU, memory, peripherals, interfaces, etc., as well as the software necessary for their operation. | Qualcomm Snapdragon 430 MSM8937 |
| Technological process Information about technological process on which the chip is made. The value in nanometers measures half the distance between the elements in the processor. | 28 nm (nanometers) |
| Processor (CPU) The main function of the processor (CPU) of a mobile device is the interpretation and execution of instructions contained in software applications. | 4x 1.4 GHz ARM Cortex-A53, 4x 1.1 GHz ARM Cortex-A53 |
| Processor bit depth The bit depth (bits) of a processor is determined by the size (in bits) of registers, address buses, and data buses. 64-bit processors have more high performance compared to 32-bit processors, which for their part are more productive than 16-bit processors. | 64 bit |
| Instruction Set Architecture Instructions are commands by which the software sets/controls the operation of the processor. Information about the instruction set (ISA) that the processor can execute. | ARMv8 |
| Number of processor cores The processor core performs program instructions. There are processors with one, two or more cores. Availability more cores increases performance by allowing parallel execution of many instructions. | 8 |
| Processor clock speed The clock speed of a processor describes its speed in terms of cycles per second. It is measured in megahertz (MHz) or gigahertz (GHz). | 1400 MHz (megahertz) |
| Graphics Processing Unit (GPU) Graphics Processing Unit (GPU) handles calculations for various 2D/3D graphic applications. AT mobile devices it is used most often by games, consumer interface, video applications, etc. | Qualcomm Adreno 505 |
| Volume random access memory(RAM) Random access memory (RAM) used operating system and all installed applications. Data stored in RAM is lost when the device is turned off or restarted. | 2 GB (gigabytes) |
| Type of random access memory (RAM) Information about the type of random access memory (RAM) used by the device. | LPDDR3 |
| Number of RAM channels Information about the number of RAM channels that are integrated into the SoC. More channels means higher data rates. | single channel |
| RAM frequency The frequency of RAM determines its speed, more specifically, the speed of reading / writing data. | 800 MHz (megahertz) |
Built-in memory
Each mobile device has a built-in (non-removable) memory with a fixed amount.
Memory cards
Memory cards are used in mobile devices to increase the storage capacity for storing data.
Screen
The screen of a mobile device is characterized by its technology, resolution, pixel density, diagonal length, color depth, etc.
| Type/technology One of the main characteristics of the screen is the technology by which it is made and on which the image quality of information directly depends. | IPS |
| Diagonal For mobile devices, the screen size is expressed in terms of its diagonal length, measured in inches. | 5.2in 132.08 mm (millimeters) 13.21 cm (centimeters) |
| Width Approximate Screen Width | 2.55in 64.75 mm (millimeters) 6.48 cm (centimeters) |
| Height Approximate Screen Height | 4.53in 115.12 mm (millimeters) 11.51 cm (centimeters) |
| Aspect Ratio The ratio of the dimensions of the long side of the screen to its short side | 1.778:1 16:9 |
| Permission Screen resolution indicates the number of pixels vertically and horizontally on the screen. Higher resolution means sharper image detail. | 720 x 1280 pixels |
| Pixel Density Information about the number of pixels per centimeter or inch of the screen. Higher density allows information to be shown on the screen in clearer detail. | 282 ppi (pixels per inch) 110ppm (pixels per centimeter) |
| Color depth Screen color depth reflects the total number of bits used for the color components in a single pixel. Information about the maximum number of colors the screen can display. | 24 bit 16777216 flowers |
| Screen area Approximate percentage of screen space on the front of the device. | 69.98% (percentage) |
| Other characteristics Information about other functions and features of the screen. | capacitive Multitouch |
| 2.5D curved glass screen |
Sensors
Different sensors perform different quantitative measurements and convert physical indicators into signals that are recognized by the mobile device.
Main camera
The main camera of a mobile device is usually located on the back of the case and is used for taking photos and videos.
| Sensor Model | Sony Exmor RS |
| Sensor type | |
| ISO (light sensitivity) | 100 - 3200 |
| Flash type The most common types of flashes in mobile devices cameras are LED and xenon flashes. LED flashes give a softer light and, unlike brighter xenon flashes, are also used for video shooting. | LED |
| Image Resolution One of the main characteristics of mobile device cameras is their resolution, which indicates the number of pixels in the horizontal and vertical direction of an image. | 4160 x 3120 pixels 12.98 MP (megapixels) |
| Video resolution Information about the maximum supported resolution for video recording by the device. | 1920 x 1080 pixels 2.07 MP (megapixels) |
Information about the maximum number of frames per second (fps) supported by the device when shooting video at the maximum resolution. Some of the main standard shooting and video playback speeds are 24p, 25p, 30p, 60p. | 60 fps (frames per second) |
| Characteristics Information about other software and hardware features related to the main camera and improving its functionality. | autofocus Burst shooting digital zoom Digital Image Stabilization geo tags panoramic shooting HDR shooting Touch focus Face recognition Adjusting the white balance ISO setting Exposure compensation Self-timer Scene Selection Mode |
| hybrid autofocus |
Additional camera
Additional cameras are usually mounted above the screen of the device and are mainly used for video calls, gesture recognition, etc.
| Sensor Model Information about the manufacturer and model of the photo sensor used in the device's camera. | Sony Exmor R |
| Sensor type Digital cameras use photo sensors to take pictures. The sensor, as well as the optics, is one of the main factors in the quality of a camera in a mobile device. | CMOS (complementary metal-oxide semiconductor) |
| ISO (light sensitivity) ISO values determine the light sensitivity level of the photosensor. A lower value means weaker light sensitivity and vice versa - higher values mean higher light sensitivity, i.e. better ability of the sensor to work in low light conditions. | 100 - 3200 |
| Image Resolution Information about the maximum resolution of the secondary camera when shooting. In most cases, the resolution of the secondary camera is lower than that of the main camera. | 3264 x 2448 pixels 7.99 MP (megapixels) |
| Video resolution Information about the maximum supported video resolution additional camera. | 1920 x 1080 pixels 2.07 MP (megapixels) |
| Video - frame rate/frames per second. Information about the maximum number of frames per second (fps) supported by the optional camera when shooting video at the maximum resolution. | 30 fps (frames per second) |
Audio
Information about the type of speakers and audio technologies supported by the device.
Radio
The radio of the mobile device is a built-in FM receiver.
Location determination
Information about navigation and location technologies supported by the device.
WiFi
Wi-Fi is a technology that provides wireless communication for short distance data transmission between different devices.
Bluetooth
Bluetooth is a standard for secure wireless data transfer between different types of devices over short distances.
| Version There are several versions of Bluetooth, with each subsequent one improving communication speed, coverage, making it easier to discover and connect devices. Information about the Bluetooth version of the device. | 4.2 |
| Characteristics Bluetooth uses different profiles and protocols for faster data exchange, energy savings, better device discovery, and more. Some of the profiles and protocols that the device supports are shown here. | A2DP (Advanced Audio Distribution Profile) AVRCP (Audio/Visual Remote Control Profile) DIP (Device ID Profile) GAVDP (Generic Audio/Video Distribution Profile) GAP (Generic Access Profile) HDP (Health Device Profile) HFP (Hands Free Profile) HID (Human Interface Profile) HSP (Headset Profile) LE (Low Energy) MAP (Message Access Profile) OPP (Object Push Profile) PAN (Personal Area Networking Profile) PBAP/PAB (Phone Book Access Profile) SPP (Serial Port Protocol) |
USB
USB (Universal Serial Bus) is an industry standard that allows different electronic devices to communicate.
Headphone jack
This is an audio connector, which is also called an audio jack. The most widely used standard in mobile devices is the 3.5mm headphone jack.
Connecting devices
Information about other important connection technologies supported by the device.
Browser
A web browser is a software application for accessing and viewing information on the Internet.
| Browser Information about some of the key features and standards supported by the device's browser. | HTML HTML5 CSS 3 |
