Life has many existential questions and then some simple annoyances: why is the built-in WiFi in so many cameras so terrible? My Sony a6300 requires QR codes, wireless connections, and clunky built-in applications (as well has having the even more kludgy Sony PlayMemories application on the receiving device). Sometimes the simplest solution is not proprietary, and that is where we come to wireless SD (actually SDXC) cards.
Eyefi was a Finnish company that pioneered the idea of the wifi-enabled SD card. The idea was to make a small card that had a short-range 802.11 connection that could interface to a computer. Before long, the focus became transmitting to handheld devices.
In theory, all wireless cards count on the tolerance of a camera for staying powered up until disk operations are finished. In practical terms, this means that the wifi component in the card is activated by reading or writing a certain amount of data to the card, and the camera does not go to sleep until the transmission is complete (or some number of minutes passes, and the camera says “enough is enough!”).
Eyefi was not a tremendously easy system to set up on a handheld because it installs a WiFi profile (ID and password). This required you to enter a code on the back of the box into the handheld application, have your phone install the profile, go to WiFi settings, connect to the Eyefi card (assuming it is powered on) and then activate the Eyefi Mobi application.
From there, and assuming you were out in the wild, and your handheld could not see any other networks to which it could auto-connect, it would automatically connect to the Eyefi card. You would have to launch the Eyefi app to get transfers to start.
In general, the Eyefi setup worked (and works), except for a few caveats:
- It is difficult to reconfigure the cards for a new device if you lose the activation code, and it is not straightforward to recover them (you used to have to email Eyefi customer service).
- The configuration on the pro cards (transmit raw files and video or neither) required work with the hellishly ungainly Eyefi desktop application, which was a solution looking for a problem (if you are at your computer, why would you need to wirelessly transmit data to it?)
- Eyefi cards were (and are) pretty hard on camera batteries.
- Eyefi cards never got fast enough for intolerant cameras like Leica Digital Ms, especially the Typ 240 and its siblings, which really don’t like cards that can’t do at least 60mb/sec write speed (which generally means a 90mb/sec read speed – what they show on the box as the “speed”).
The Eyefi Mobi and Mobi Pro cards were a bit easier. The orange Mobi only transmits JPGs (you need to plug it into an SD reader to get RAW), and the black Mobi Pro would transmit both. But the speed still maxed out at Class 10, still not fast enough for a Leica, where sometimes they work, sometimes they don’t, and when they don’t, they lock up the camera until you remove the battery.
Eyefi’s reorg, Toshiba, and Keenai
The Eyefi situation, oddly, changed for the better with the reorganization of the company. The technology end (the patents) went to Toshiba. Keenai took over the software end and designed a (free) mobile application that far more reliably connected to the card and downloaded pictures far faster. While on paper, the deal between the companies was cross-licensing, the reality is that Eyefi cards are out of print.
Toshiba took over with its FlashAir series where Eyefi left off. True to Japanese corporate form, it put out its own clunky (and frankly indecipherable) handheld application. FlashAir. To its credit, the application allows you to see thumbnails (JPG and pink boxes for RAW) that allow you to selectively pull (as opposed to having the card push) files. This avoids the usual wait for the good shots while the card pushes all of your bloopers to your handheld.
The FlashAir W-04 (the current model, for some reason only available in Asia – in the U.S., you get the W-03 – but you can buy the W-04 all day on Ebay…) is in many ways better than the Eyefi Mobi Pro.
First, it skips the activation codes and profiles and lets you just punch in an 8-digit password (which you can change via the handheld app) when you connect to its wireless signal. I would not recommend changing this password because the risk of someone in your immediate proximity stealing your images is far smaller than the risk of forgetting the password and bricking the card.
Second, on Keenai, it is zero-configuration. It sees the phone is connected to a FlashAir card, and then it goes to town downloading everything (JPG and RAW). I think the assumption is that your phone will only be connected to one card at a time.
Third, the Toshiba cards seem to eat batteries less, although the effective range seems shorter. I am still testing this, but that kind of tradeoff would not at all be surprising.
Finally, the W-04 transfers about twice as fast as the Eyefi over WiFi, and its card write speed (UHS-3, which I measure at 63.3Mb/sec write speed) is high enough even to be reliable with the finicky Leica Ms. This actually makes them useful even when you don’t need WiFi connectivity. Speeds (as tested by me through the iMac 5K’s built-in card reader)
- Flashair W-04 (64mb/sec write, 88mb/sec read)
- Eyefi Mobi Pro 32 (17mb/sec write, 19 mb/sec read)
- Eyefi Mobi 32 (18mb/sec write, 19mb/sec read)
- For reference, a Samsung Pro non wireless card (rated 80/90) runs at 64/88.
…so as you can see, “Class 10” covers a lot of territory (basically 10mb/sec and up)
There are two last annoyances.
One is that iOS devices are hostile to the idea of strict priority lists for wireless. At home or work – where your handheld would be connected to a permanent network, you would want EyeFi or FlashAir cards to trump the local Wifi when they are active (since they are only active for shooting or file transfer). This is not a problem inherent to the cards themselves, but it makes using them less fun.
Second, wireless host programs like to store downloaded images in their own purgatory rather than dumping them all directly into your iOS photos storage. This means that you end up storing two copies of some (or all) pictures, eating into onboard storage. This actually is within the province of Keenai to fix.
With the maturation of wirelsss SD card card technology and of editing programs like Lightroom CC mobile, you can now actually get more done in more places. And yes, they even work with Sony cameras.
The Multifunction Handgrip M (14495), $895, is a depressing piece of hardware. It’s not the price or the alleged GPS slowness. It’s the depressing feeling that like a lot of things, the M camera reached its highest point of elaboration and now is on the path of decontenting that hit a lot of other types of consumer electronics.
Hello and goodbye. The story of this product is wrapped up with the M typ 240 (and its cousins the M-E 262 and Monochrom 246). The 240 was a watershed moment for Leica – the first time the M had actually become functional like other people’s cameras. It signaled a few firsts:
- Video. Not the best HD video ever, but with the new EVF(!) it was passable.
- Audio input. Plus it actually had a way to get audio into the camera! But no EVF and mic adapter at the same time. In every life, some rain must fall.
- A digital horizon that operated in 3 dimensions (so it could detect pitch and roll).
- A high capacity battery.
- A function button on the front that could trigger exposure compensation adjustments or viewfinder magnification.
How many of these features made it to the M10? The front button. Now let’s see where the Multifunction Handgrip takes you:
- GPS. Every want to auto-tag your photos with the location?
- SCA flash connector. Now you can connect to a flash via a metal plugged-cord or a standard PC outlet.
- AC connector. Now you can run your camera on video for the allotted 29 minutes at a time (before the auto shut off).
- USB port for tethered operation (likely why the AC connector is so important).
But then there came the M10, thin like a 90s shoulder pad. No more video. No more need-to-keep-it-level landscape photography (apparently…). Smaller batteries, as if the thrill of living had gone.
Weight? The 14495 adds surprisingly little weight to the M. That’s because everything but the baseplate part is plastic. Naturally, the light grip does not change the balance of the camera, so you need to use brute strength (and grip) to keep big lenses level.
Grip? The ergonomics of this are something that grow on you. At first, you feel like it could be a centimeter taller to accommodate your index finger. But wait – that’s the one you need to press the shutter. It doesn’t take long to adapt to this grip, and it greatly enhances the handling of the camera with huge lenses like the 75/1.4. Every little bit counts, and an M is pretty slippery, even with the little nub grip built into its case.
GPS? It works. Just put your camera in standby, and within a few minutes, it will get a fix. Once it’s running, it seems to be pretty accurate. A lot of people seem to complain that when it loses a signal, it continues to log its last known location. That’s actually beneficial when you go indoors (since you don’t want it to revert to a location in the center of the earth, for example).
“Near-field” communication. You always wanted this on a digital camera, but you didn’t want Android. Well, here you go. To get a wifi signal out of a card (like the Toshiba Flashair, which will be treated in a future installment), you basically need to have your handheld touching the top plate of the camera (which apparently is the most porous surface for radio waves.
Flash. Flash. Flash. So you want to know how well the 14498 SCA setup (another bazillion dollars) works? It consists of a bracket and an extension shoe. The idea of this product is to allow you to move the flash off camera both to enhance balance and to free up the hot shoe for an optical or electronic viewfinder.
The disappointing thing is that there is no vertical grip piece, meaning that your flash head is much closer to the lens axis in landscape mode than you might like. So this works better out of the box with taller flashes like the SF 58 or 64.
The weird thing is the SCA plug, which is both unusual and insanely well built. It probably requires 200 different machining operations. But like the EVF connector, it’s proprietary, meaning that you have exactly one choice for off-camera work. The exit of the cord near the body of the camera body seems weird at first, but after you use it a bit, you wonder why Nikon screwed up so badly with the SC hot-shoe adapters, which have huge cords that on an M camera either end up blocking the viewfinder or getting in your face, literally.
But the good thing with the 14498 is that you can get and use your favorite old Vivitar handgrip – because the extension shoe detaches from the bracket. And can be used without the bracket.
Flash operation is unremarkable (as it should be). You do not get a flash-ready indication in the EVF if you have it attached, and shot to shot lag time is not affected.
Conclusion. The Multifunction Grip M, if you can score one used for under $400, is a pretty good item. At that price, it’s not quite as outrageously expensive as list, and it helps tremendously with heavy lenses. As to the SCA set, it’s a tougher call, unless you can get one for under $200. Where the grip gives you a standard PC connector, you can use any handle-mount auto flash you want (such as a Metz 45 series). Flash may or may not be in your personal program, but I would remind you that the higher-end Leica flashes do high-speed synch very well.
Sony a6300 with Leica 35/1.4 Summilux-M ASPH and LM-EA7 II
Sony a6300: love to hate you
There may not be any point, six months after the fact, to writing anything about the Sony a6300 compact camera. Well, maybe there is. Sony APS-C cameras are something that Fuji fans love to hate. And what’s not to hate from their perspective? Sony doesn’t make cameras that look like old rangefinders or SLRs, Sony lords it over Fuji with sensors that are slightly ahead (Fujifilm buys sensors from Sony, so it is not going to get the pathbreaking product immediately), Sony lenses are supposed to be terrible, and despite all this, Sony still outsells Fuji by an order of magnitude. How could this be?
— Sony strengths relative to Fuji in the mirrorless arena
The two possible answers are video and AF performance. Video on the a6300 is nothing short of phenomenal: 4K, 120fps HD, and just about every type of video gamma geekery that you could want. The Multi-Interface Shoe allows for some interesting snap-on microphone options, including XLR and wireless. The worst thing anyone has said about the a6300’s video is that it has rolling shutter problems, and the answer to that is really, so what? It’s an artifact of any mirrorless camera when used for video. And since Fuji sources its sensors from Sony, you’re not going to do any better. In fact, no one outside the Fujisphere considers Fuji’s video in any way significant.
The focusing speed and accuracy a NEX/Alpha has always been somewhat incredible. Even back to the old NEX-5, Sony could make lenses that silently and smoothly achieve focus on faces. The a6300 with its kit lens posts some insanely fast times, and Sony’s claims about continuous focus tracking are largely true, at least as far as this author has been able to reproduce the right photographic, ahem, “needs.” In fast action, a camera with poor lenses but a responsive system does much better than a more ponderous camera/lens combination that misses the forest for the trees.
One thing that is clear from the dpreview.com tests is that with whatever mystery lenses the site used to test the X-Pro2 and A6300,* there is almost zero difference in image quality, anywhere on the frame.
*Never disclosing the lenses used is dpreview’s second-biggest failing. The first is retconning itself into the time before the internet and digital cameras existed. Sorry. That was a mistake. The first is allowing itself to be bought by Amazon. Then the second is retconning. Then the third is mystery lenses (apologies to Steve Martin).
The A6300 is fairly easy to handle. The grip section of the camera is substantial, and in general, it is easy to operate. No one, though, understands what the second command dial is doing on the top deck. It’s not comfortable to use with the camera at your eye. Controls are snappy and solid, as is the general build.
The A6300 has the latest OLED high-density electronic viewfinder that features a 2-axis level (pitch and roll) and more information display possibilities than you want to admit you want. Battery life is helpfully provided by percentage (and if there is one nice thing about Sony batteries, they are good communicators. Shooting does not black out in continuous mode. The EVF senses heat (infrared radiation); hence, its eye sensor does not react to glass-lensed glasses or sunglasses. If you don’t like the EVF, there is a big LCD on the back. Knock yourself out.
This is mostly unchanged since the a6000. The big thing is silent shooting, which uses a front and back electronic curtain (you can also choose electronic front or mechanical front). Silent shooting has two failure modes: first, in any situation with fast-moving objects, the progressive read of the sensor will cause typical “rolling shutter” artifacts. Second, dimmed LED lights (dimmed at the wall switch) flicker, even at full brightness, and can cause light banding in the finished frame (rolling shadow).
— Legacy lenses
One big note is that it is not particularly easy to engage viewfinder magnification on a shot-to-shot basis. You either have to learn to live with focus peaking or slow way down if you want to focus older SLR lenses, for example.
— Accessories and cutting corners
If you are accustomed to older NEX cameras, you will marvel at how Sony expects you to charge this camera with a USB connection to something else. The better solution is the Sony BC-TRW, which is a microscopic dual-voltage charger. It actually has four charging indicators (1-3 and off – meaning “fully charged.”). But yes, you still get a useless camera strap in the box.
An exit from the closed system
The problem with APS-C camera systems, whether Sony or Fuji makes them, is that they are closed, highly proprietary systems. You can’t stick a Fujinon on a Sony; you can’t get a Sony Zeiss lens onto an X-Pro2. Change systems? Get ready to pay the price when you sell your old system’s lenses.
There are two tired retorts:
- But the system has all the lenses you’ll ever need.
- Why don’t you just mount legacy lenses on an adapter?
The first argument is disposed of easily: what if you don’t like the one lens with your preferred angle of view and preferred maximum aperture? What if you don’t want to shell out for new lenses? What if you need the money for booze?
The second fails due to the kludge factor. Yes, it’s possible to mount other lenses on these bodies for use with cheap Chinese adapters and your old lenses. It’s also generally miserable. Both Fuji and Sony allow focus magnification, but Sony makes it difficult to use when a non-Sony lens is mounted. Both makes have focus peaking, but that’s not as definitive as you think. And although Fuji offers a phase-detect driven split-image manual focusing function, it’s not that much fun and not that fast to use.
The “out” provided by Sony was to enable phase-detect autofocus with third-party lenses. This enabled things like the TechArt LM-EA7 II adapter, which in theory allows the autofocusing of any M mount lens (or lens that can be adapted to M, provided it physically fits the adapter). If this works, it would be a game-changer, since it would bypass the usual foibles of adapted lenses (focus difficulty and inaccuracy of focus peaking being two big ones). Is this true?
The good, the bad, and the ugly with the LM-EA7 II
The adapter comes in a nice, foam-padded box and includes a NEX/E-mount body cap and rear lens cap. This is a nice touch, since people who bought the a6300 with a kit lens will have neither.
The good news is that with the sweet spot for Leica lenses: 35-50, the LM-EA7 works like a charm. The noise is a faint whirring, and the Sony phase-detect system fairly effortlessly computes and reaches the focus point (provided, of course, that your lens would ordinarily need 4.5mm or less of travel between infinity and minimum focusing distance).
- Focusing is through the lens, at shooting aperture. ***This forces the camera to automatically adjust for focus shift on fast lenses, again making the a6300 more accurate and repeatable than a Leica M body, which can only have accurate focus at one aperture.
- The camera plus adapter can focus on an off-center subject using (for example) wide AF. Face recognition works with this adapter, even though the adapter supports phase-detect only. ***This is significant because it means that the a6300 can more accurately focus fast Leica lenses on off-center subjects than a Leica body can.
- The camera plus adapter rarely misses, even off-center. In fact, the focus with things like the 50/1.5 ZM Sonnar (the modern version) is better than can be achieved with a rangefinder (naturally, due to focus shift).
- The adapter is serviceable with 75mm and longer lenses, provided that you pre-focus to somewhere at least near the expected focus point.
- The adapter, by virtue of its inbuilt extension, gives you slightly closer close focus with 35mm and shorter lenses.
- There is little or no color shift with adapted wides. Depends on the lens, but even the ZM Biogon 4.5 seemed to do ok.
- Flash works with the adapted lenses.
- The multi-shot vibration-reduction mode works (JPG only).
- The weight limit for the objective assembly (lens plus any adapters to M mount) is 750g. This is well beyond what you need for almost any Leica-mount lens and covers most DSLR prime lenses (if you go lens – to M adapter – to LM EA7 – to camera.
- The artistic effects, such as “Sad Clown with Single Tear Airbrushed onto Sweatshirt” still work with adapted lenses.
Now, what’s the catch? Well, there are seven.
- PDAF does not work for video, and the adapter does not do contrast-detect.
- Due to some clear limits in the Sony PDAF software (which is probably set up to look for big focusing changes), wide lenses (≤21mm) and lenses with maximum apertures of f/4 or smaller do not focus well. Granted, why do you need AF with these lenses?
- The motor part of the adapter hangs below the camera, making it hard to set the camera down. This is not entirely negative because it also makes a nice grip.
- Not all SLR mount to M mount adapters work. In general, you have to use the Leicaist versions because they taper enough to miss the motor unit. Konica AR is one of the couple that work with the adapter, and even then, it’s just the typical Chinese adapter with a relief milled into it to clear the autofocus adapter.
- Taking the camera’s aperture setting off f/2 or 2/8 tends to cause overexposure.
- The system for selecting and recording lens-specific metadata is confusing, pointless, and possibly both. Your best word may be to record everything as 15mm.
- It does take a toll on your battery.
Tips and tricks
- Disengaging AF. For some reason, there is a lot of internet kvetching about how it is difficult to disengage AF. This is probably based on old firmware that requires you to use Aperture Priority and turn to a small f/stop. It is actually very easy to disengage the AF temporarily. If you press and hold AE/AF-L on the a6300, the adapter will park at its “infinity” setting, the focus peaking will come on, and you can then focus manually. When you let go of the AE/AF-L button, the adapter goes back to normal AF operation (make sure the lens is set to infinity before you do this!).
- Quickly overriding face-detect or wide area AF. If you have the camera set to wide AF, and you press the center of the back wheel, it will go into spot AF, center area only. It will also automatically focus in that zone. There are many possible green boxes, so it’s not like spot AF – but it suffices in most situations where you need an arbitrary focus point.
- Minimum focusing distance. With a travel of 4.5mm, and the lens set to infinity, the adapter does not have extension enough to reach minimum focusing distance with any lens over 50mm. The slight exception appears to be some zooms, since their designs often obviate a direct relationship between focal length and extension while focusing. Minimum focusing distance, though, is all in your mind with the A6300, whose narrower angle of view causes you to back up to get the same field as with an FX/35mm camera.
- Prefocusing longer lenses. With long lenses the quickest and easiest way to get to a range where you can achieve focus is to press AE/AF-L (which parks the lens), turn focus peaking on, and focus to a point where focus is just behind the intended subject. Once you are there, let go of the AE/AF-L button to reactivate AF. Because you focused behind the subject, and because the adapter extends (thereby moving the focus point closer to the camera), you have now put your lens exactly in the right place. Needless to say, the longer the lens, the less frontward subject movement this technique will tolerate.
- Marking your close-focus point with long lenses. If you habitually shoot at 1-1.5m, find the right “parked” focus distance (see above) and then mark it on the focusing ring with a dot of colored paint.
Yes. In general the performance of this adapter depends on two major variables: lens weight and maximum aperture. The former degrades focusing speed; the latter, certainty of locked focus. As noted above, Hexanons were tested due to the availability of an ulterior SLR adapter (plus I had a bunch sitting around).
- 35mm f/1.4 Summilux-ASPH M (pre FLE)
- 40mm f/2 M-Rokkor
- 50mm f/1.1 MS-Sonnetar
- 50mm f/1.5 ZM C-Sonnar
- 50mm f/1.5 Jena Sonnar (prewar)
- 50mm f/2.0 M-Hexanon
- 50mm f/2.4L Hexanon
- 50mm f/2.8 Jena Sonnar (with Amedeo dual-mount Contact to Leica adapter)
- 50mm f/2 Jena Sonnar collapsible prewar
- 50mm f/2 Carl Zeiss (Opton) Sonnar, postwar
- 75mm f/1.4 Summilux-M (prefocus)
- 90mm f/2.8 M-Hexanon (prefocus)
- 10.5cm f/2.5 PC Nikkor (LTM)
- 40mm f/2 Hexanon (AR) (Konica mount via Leicaist adapter)
- 57mm f/1.2 Hexanon AR
- 35-70mm f/3.5-4.5 Zoom-Hexanon AR
- 85mm f/1.8 Hexanon AR
Kinda. For wide-angle, medium aperture lenses the adapter does not do so well because Sony’s phase-detect AF isn’t set up to split hairs.
- 24mm f/2.8 Hexanon AR
No? Here, the details are too small and/or the depth of field too much to get an easy lock (or sometimes, any lock) with the A6300 [edit note: this appears to be due to the camera’s having difficulty in deciding where the focus point should be – and even in its “spot” modes, the a6300 is picking a focus point]. The behavior on these is more deliberate focusing, almost as if the camera had switched into contrast-detect].
- 18mm f/4 ZM Distagon [too wide, too small an aperture]
- 21mm f/4.5 ZM Biogon [too wide, too small an aperture]
- 21-35mm f/3.4-4.0 M-Hexanon Dual [too wide, too small an aperture]
- 50mm f/1.5 Carl Zeiss (Opton) Sonnar [aberrations that Sony AF can’t understand?]
The Sony A6300 is a pretty formidable camera for video and not a slouch for stills provided either that your style does not exact ultra high performance from kit lenses or provided that you are willing to invest in better Sony or Sony/Zeiss glass.
The LM-EA7II may never be good for sports or high-intensity moving work, but it provides some fun with old lenses, or as much of it as you can take! It’s actually a bit irritating that I did not have an A7-series camera on hand to try it.