My original in-depth A550 review was done long before the A580/A560 and A55/A35 came out. They are game changers. This is still an A550 review, but it won't mean much unless I provide some context relative to the new designs. I'm going to summarize the key differences first so maybe you can avoid the long, in-depth discussion of features that follows. If you decide to skip over most of the info, you might just glance at the last two or three paragraphs before moving on.
The A580 and A560 are in essentially the same shell as the A550 and A500. They build on the technology of those designs. The biggest difference is the addition of HD movie shooting. The still-camera differences include marginally increased resolution (A500 = 12.3 megapixels, A550 = 14.2, A560 = 14.2, and A580 = 16.2). This is no big deal except for bragging rights. Be aware that Sony makes its own sensors and makes sensors for some of its competitors. Given Sony's obvious corporate priority on DSLR market share, we have to believe that they won't sell their very best to competitors.
The A580/A560 includes some new features relative to the A550/A500: mirror lock-up on self-timer, which may make a difference for ultimate sharpness on non-hand-held shots; depth-of-field preview, so you can see how much of a scene is in focus before you shoot; a new "hand-held twilight mode," which will significantly reduce low-light noise, may reduce blur and camera shake effects, but may only make sense for near-motionless scenes; and 3D panorama, which will allow you to sweep across a scene and "paint" a wide, panoramic frame.
There are other upgrades, which Sony claims will enhance features that already exist. These include better/faster autofocus, and a very significant improvement to the HDR mode. The autofocus speed on the A500/A550 does not, for me, need improvement so I don't know how to evaluate that upgrade. The in-camera HDR is a trick of reducing loss of detail in shadows while simultaneously reducing white-out of ultra-bright parts of the picture. It only works on static scenes, but it already works well on the A500/A550 (it's one of my favorite Sony exclusives). The use of three frames will double its potential dynamic range advantage as well as make it more practical. I have a more in-depth discussion of the feature later.
If you will make good use of the movie feature, the choice between the one-year-old technology and the new technology is a no-brainer: buy the new. For still-pictures alone, the new technology is easily worth an extra $150 to me personally. An extra $250, however, is a resounding MAYBE for me just based on still-camera differences. I say that, because I've done a wide range of work with the A550, and I absolutely love the camera just like it is. Sometimes better is the enemy of good-enough. I also have an A850, so I can make direct comparisons to it. At the time of this review, the A580s are hard to find, and where they are available, they come only with the kit lens, and vendors are asking over $800. The A560s, a very attractive compromise, aren't even on the market yet.
So what about the A35 and A55? They are not true DSLRs, because they don't "reflex" the mirror. The mirror is partially reflecting, or "translucent," with 30 percent of the light going up to an electronic viewfinder's (EVF's) sensor while 70 percent goes through to the main sensor. The mirror is stationary: it doesn't flip up for picture taking like an SLR. This eliminates mirror slap noise and vibration altogether, but there is no true optical finder, and the main sensor loses light input. They do, however, do an excellent job of shooting movies with autofocus; they are smaller and lighter; and they are quieter than DSLRs. I've tried an A35: the EVF is excellent and can display more info than you can get in an optical finder's window. The loss of light to the sensor equates to loss of 0.514 stop; one third of the effective area of the lens' front optic is lost to the sensor; or, stated one more way, it is equivalent to increasing your lens f-number by 20 percent. (Please, before you disagree, look up the formulas: there are logarithms to base 2 involved.) There is no general loss of contrast, but one reviewer reported measuring image ghosting in the A55. The ghosting will show up as a very thin bright line on the dark side of a bright-dark interface in a picture. The ghosting was down 200x in intensity from the main image (meaning Sony has done a good job of coating the mirror glass.) Message: it is unlikely to matter. Beyond this point, discussions of differences between the A550 and the newer models will be mostly confined to the A550/A500 versus the A580/A560.
In the first version of this review, I wrote that the A550 was ahead of every other camera on the planet (except the A500) in three areas that are critical to non-professionals:
1. low light performance it is excellent out to ISO 6400 (Pros care about this too.) The A550 is better in this regard than the A900. The A560/A580 "hand-held twilight" feature will further improve noise reduction in dark areas of your pictures of near-static subjects with no loss of picture detail.
2. fast-focusing live view with tilt screen, which is slightly better than two other Sony offerings (350 and 300) and beats all other brands like a drum. Sony has enhanced the fast focusing in the A560/A580, but it's impossible to know how much the enhancements matter in real-world use without testing.
3. high dynamic range (HDR) feature, which, for stationary subjects, will bring images out of the shadows with full detail, like you won't believe. The longer exposure of dark areas will reduce grain. Going to three frames definitely makes this even better in the A560/A580 as I'll explain later.
The following are negatives on the A550 that I pointed out in my original version of my review. I'm now adding comments about the A560/A580's impact on these issues:
1. no mirror lock-up on the A550, not even with the self-timer. Locking up the mirror eliminates any blur-inducing vibration associated with "mirror slap" when pictures are taken. You don't use mirror lockup in hand-held shooting, because it blinds both the viewfinder and live view. The A560/A580 has preliminary lockup on self-timer shots, which, for me, all but eliminates this shortcoming. The A55/A35 eliminates this problem altogether.
2. no program shift, although there is a very useful manual-mode shift, which is often overlooked altogether by professional reviewers. The new designs did not remedy this shortcoming.
3. no depth-of-field preview. The A560/A580 does have depth-of-field preview.
So of my three original superlatives, two out of three have definitely been enhanced with the A560/A580, and the third has as well, at least at the specification level. The new models have also eliminated two out of three of my originally identified shortfalls in the A550. The only outlier is the lack of program shift.
Lately, I've noticed some bloggers bashing the A550 for not having an ISO 100 setting. The A580/A560 has it. We photographers are conditioned to believe that ISO 100 is what you use (when conditions allow) to get the very lowest-noise shots. When we see the A550 not having an ISO 100 setting, we jump to the conclusion that it is not a serious pro-sumer camera. We are wrong when we do that. The ISO of the A550's native sensor is 200, and there would be no benefit in grain or noise reduction by going to 100. What is the A580's native ISO? I don't know, but the A580/A560 manual, which I downloaded, leads me to believe the native ISO is 100. I do know that the professional-grade A900 has an ISO 100 setting, but that sensor is native-200, which means that going to ISO 100 amounts to "throwing photons on the floor." It's equivalent to using a (very high quality) 50 percent neutral density filter. Come on, bloggers, how many of you have really ever used a neutral density filter? In the A550, Sony refused to design its settings around photographers' incorrect pre-conceptions about optimum sensor performance. (There must come a point when more light is no longer better, and nothing in physics says that the point must be ISO 100. It could be 200, 100, 50, 25 or whatever. After all, with all the new anti-shake technology you could often shoot at ISO 25.) Did Sony give in to users' pre-conceptions in the A580? We'll find out later when we learn more about the senor. In the words of Forest Gump, "That's all I have to say about that."
The rest of this review will explain the six features identified above and their associated benefits and liabilities, point out some other key discriminators, provide recommendations for sources of additional information, and offer suggestions for accessory purchases. I'll note one other important item that the professional reviewers, to a man, got wrong about the A550. Finally, and you may want to skip ahead to this, I'll cover the differences between the A550 and the A500, from one real-world user's perspective.
There are three kinds of potential buyers for this camera: those who already own a Sony or a Minolta autofocus SLR (digital or film), those who own another brand of autofocus SLR, and those who would be newcomers to autofocus SLRs but typically already have compact digital cameras. Most of the first group is pretty much already in Sony's pocket, because they have sunk cost in lenses and accessories that they can use on the A550/A500 or a newer model. The second group will be a very hard sell because they're fully vested in another brand. The third group is wide open, and the obvious opportunity for Sony's DSLR brand growth. This is exactly why Sony has put so much emphasis on the live view capability. Very few compact cameras now have optical viewfinders. These owners are accustomed to framing their shots in a video display on the backs of their cameras (which is what live-view means), and they are not likely to buy a big, clunky, expensive camera that won't do live view as well as what they already have. This group is also likely not to know that they should care about mirror lockup, program shift, or depth-of-field preview (even though those things do matter), so Sony felt safe in leaving those things off of the A550.
I've said that Sony is targeting the DSLR newcomer here. Does that mean that the A550 is an entry-level digital SLR? Absolutely not. This is a serious camera. And speaking as one who spent 30 years with Nikon-professional and Hasselblad film cameras, I have to say that the SLR snobs should wake up and smell the live-view coffee. There are many, many situations in which live view is a vastly superior way to set up a shot. I predict that in five to seven years, all DSLRs even the pro models will have live view capability like the A550. It was just ahead of its time. When that time comes, I'll be first in line to buy a pro model that won't be obsolete in five more years like today's pro offerings will.
So what's the significance of the three superlatives that I cited first?
The capability out to ISO 6400 means you can shoot in lower light. It affords a faster shutter speed that will facilitate the use of longer (i.e., telephoto) lenses without a tripod and deliver fast-action shots with less blurring. Alternatively, you can get greater depth of focus and/or get by with a smaller, lighter, and cheaper lens (i.e., with larger f-number). The terrific built-in anti-shake stabilization, coupled with the low-light capability will allow you to sit in the den and shoot Fido without a flash. No more pet red-eye! It also means you can sit in your den with the owner's manual (or better yet, with the books that I recommend here) and learn the camera pretty much inside-out, working in available light. All of this is inherent in the A550. I also have an A850 (full frame pro model) that I use regularly. Its low-light capability is inferior to the A550/A500 and A560/A580, not to mention even the A35/55.
In addition to near instantaneous focusing (in decent light), the live view screen is bright and has extraordinarily high resolution. You can set up the shot better; you get a better review of what you've shot; and you have a better idea of whether you need to reshoot. The tilting screen allows you to shoot over crowds, shoot over fences, shoot from waist level, and shoot from floor/ground level without having to lay down to do it. It's extremely handy for macro work. You'll also find yourself using the tilting screen in ordinary circumstances. (The A560/A580 has up-down tilt; the A55/A35 adds side-to-side as well.)
Some have complained that this camera does not have an LCD readout on top. The flip-up screen does help compensate. This is one missing feature on the A500/A550 that Sony did not try to squeeze into the A560/A580.
Other DSLR brands, with the exception of Olympus, have totally pathetic live-view focusing capability. That's an understatement. And even Olympus does not have the tilt screen. (Nikon actually has tilt like the A55/A35, but they don't have the fast-focus live view.) BTW, any DSLR will focus fast and allow you to squeeze off a shot much faster than a point-and-shoot when you use the optical viewfinder. With this camera, the difference is that you can have it both ways, and both ways will yield way faster focusing than a point-and-shoot. These first two features alone, on an otherwise good camera, should be sufficient to persuade the DSLR newcomer to get an A500/A550 or an A560/580. But there's much, much more.
What about this HDR thing? When you turn on this mode, the camera shoots two frames in succession at differing exposure levels (you can set the difference). (The A560/580 shoots three frames.) It then superimposes the pictures, replacing dark areas in the low exposure with corresponding areas from the higher exposure. This camera, like others, has a mode called dynamic range optimization (DRO) that selectively adjusts contrast to improve shadow detail. DRO works because the camera's sensor captures a raw image that has roughly 4 stops more dynamic range than jpeg. So when the camera converts the raw image to jpeg, it has captured detail that can be brought out by DRO. HDR beats DRO, changing the actual exposure by shooting multiple frames, producing shadow detail that is sharper with less grain than DRO. You might wonder if you would have a problem holding the camera steady enough to capture two frames (or three for the A580/A560) for overlay. With the built in stabilization and the image correlation algorithm, the camera will take care of it. The only catch is that moving objects will produce a double (or triple) image, so you will only turn on HDR when you are shooting near-static scenes. Also, since HDR lightens the dark areas of the photo, you won't want to use HDR on static scenes when you need strong contrast between light and dark areas. There are two key benefits to the A580/A560 triple-frame implementation. Instead of a max spread of 3 stops between 2 frames as on the A550/A500, there can now be 6 stops over three frames. This is huge. Second, the camera records the center unaltered image as well as the overlaid image. This is valuable in case something in the scene moves between frames -at least you have one good picture. It also covers you if you forget to turn off Auto HDR.
What are some other significant features?
The A550 will take an SD card and a Memory Stick simultaneously. You have to throw a mechanical switch to go from one to another. SD cards will give you about the same speed and storage as memory sticks for about half the price, so having the SD option is valuable. I keep my A550 loaded with both. It just means I have a deeper built-in magazine and something to fall back on in case of a problem with one storage device.
The A550 will shoot up to 7 frames per second, which is world class. It has a buffer that will allow you to shoot 15 or 20 shots at that rate before it slows down. (The A500 is slower and has a much smaller buffer. The A580 and A560 also shoot 7 fps.) As the A550 is firing and filling your buffer, it is dumping from the buffer to your memory stick or SD card. A faster stick/card will give you more shots before the buffer tops out. If you're not shooting rapid fire, you can get by inexpensively with a Class 4 SD card. Also note that some SanDisk Class 4 models (see, for example, SanDisk Ultra II 16 GB Class 4 SDHC Flash Memory Card SDSDRH-016G-A11) are as fast as other brands' Class 6. I've tried Class 10 cards, and they provide no shooting benefit beyond Class 6 on the A550, indicating that the camera does not take advantage of the extra speed. Of course, Class 10 will upload faster to your computer. For the A550, your best camera performance for the money is the SanDisk Ultra II Class 4.
The A560/A580 models both shoot at the 7 fps speed, but the A560 has a smaller buffer, so that it can only shoot about a third to a half as many high-res shots at high fps before it tops out and has to slow down.
The professional reviewers like to whine that changing settings requires you to go to a whole new screen on the A550. Not true if you are shooting in live view. One of the live-view display options has the critical settings around the outside of the live-view frame. To change any of them, just push the function button and you can navigate and change the ones on the sides of the frame (11 or 12 of them) just like that. It goes to show that pros (and other SLR snobs) just don't seem to "get" live view. There are several layers of reasonably intuitive menus that will take you to the full complement of settings, and they do, of course, change the screen. Some of the pros whine that there are not enough paths to the settings. (There are multiple paths to ISO, frame speed and auto delay, DSO/HDR, and exposure compensation. You can get to the other most-important settings very quickly through the Fn-button menu. Are these guys slow studies or what?) When you first get your A550, put it in live view mode (using the slide switch on top), then push the DISP button until you get the view with the settings arrayed around the outside. Next, push the Fn button and navigate from one setting to the next, and you'll get a brief description of what each setting is. This is a quick way to learn the layout or refresh your memory if you've been away for awhile. You may want to turn off the pop-up descriptions after you learn them, because they can get in the way.
Here's another trick that I've learned: There is an array of 7 buttons that you can reach with your thumb without changing your hand position on the grip. Once you push a button, you can make the associated adjustment (partially in some cases and fully in most) with the "thumb wheel" using your forefinger. Then, lightly pushing the shutter button finalizes the setting. You can also just re-push the button you started with to finalize the setting. With practice, this really increases your agility, giving you instant command of the most critical settings. If you're in a hurry, you can make a change and finalize it by firing a shot. Any adjustment that you make through any pathway can be set by firing a shot. You don't have to push an "okay" button ever, if you don't want to. The bottom line here is that you can make these adjustments one-handed without taking your hand off the camera or your eye away from the viewfinder or screen. It takes considerable practice, but it can make all the difference in getting or missing a critical shot.
What about the three A550 negatives I mentioned at the start?
When an SLR fires, it flips up the mirror before it opens the shutter. This can cause vibration that can matter on longer exposure times. All pro cameras and many pro-sumer models have mirror lockup, which temporarily ends your ability to use the view finder (and in some if not all cases, the live view). I used it regularly on my 35mm and medium-format film cameras. The advantage is that when you take the shot, there is no vibration imposed by the mirror. This is the kind of thing you do with the camera on a tripod, and Sony specifically says not to use image stabilization when you're using a tripod. The A500/A550 design does not have lockup it does not even flip up the mirror early in timed auto mode (which really annoys me). The A560/A580 does flip up the mirror early in timed auto mode, which, for me, would solve the problem. Unfortunately for me with my A550, I like to carry a bean bag in my pocket as a portable tripod. (I even use it to brace the camera against posts and walls.) At least with a tripod, the camera is bolted down, which should reduce vibration not so with the bean bag, so maybe in that case it's best to leave stabilization on. I can't prove that any of my shots have suffered from lack of mirror lockup, but it's a very good feeling on that very special shot to be able to lock up the mirror. When you shoot hand-held, it isn't practical to use mirror lockup anyway. I mentioned that Sony has reduced the weight of the mirror to minimize induced vibration. Some of the pros seem to forget that APS-C cameras like the A550 have much smallerand lighter-weight mirrors naturally than the old 35 mm film SLRs and the full-frame DSLRs. In the old days (the way old days), the big full frame mirrors really banged against hard stops when they flipped up. Modern engineering has applied damping, which is like banging the mirror into a pillow, and has again reduced the production of vibrations. The mirror-induced vibration penalty, when it occurs at all, will be much less in a modern APS-C camera than in an old full-frame camera. Is adding the early flip-up in the A580 just another bow to photographer preconceptions?
Program shift would allow you to take the camera's program choice of aperture and shutter-speed setting and quickly and smoothly shift the program to other aperture-shutter combinations of equivalent exposure. (For the technology-savvy, it's like an instantaneous shift from Program mode to Aperture Priority or Shutter priority, while starting at the initial Program mode settings.) With the A500/A550 (and also with the A580/A560), you can't do that. You can, however, do a "manual shift." This accomplishes a similar purpose but only in manual mode and not with the camera's programmed exposure. Program shift is a nice feature, and I wish the 550 had it, but it's no show-stopper. (Note that the full-frame A900/A850 professional models do have the feature.)
No depth of field preview means for the A550/A500 that you have to shoot a test shot to tell what the level of focus is for objects at differing ranges from your primary focal range. What you see without depth-of-field preview is the worst case for depth of field, showing what you would get with the largest aperture setting of your lens. This is helpful for precise manual focusing, but not good for getting a look at the ultimate focus distribution of your actual shot. For example, if you want to throw the background out of focus in a portrait, and you don't want to use your widest aperture setting, expect some trial and error. Depth of field preview is not 10 percent as important on a digital camera with a high-res display as it was on film cameras. It's not as important on APS-C cameras as on full-frame, because depth of field starts relatively big and then gets bigger at higher f-numbers on APS-C. I've used depth-of-field preview hundreds of times on full-frame cameras, but I could have done without it, even using film. And BTW, when you use depth of field preview with the lens stopped way down, the optical viewfinder can become so dim that you can barely see what's in or out of focus anyway. I really believe that some of the pros haven't noticed that this feature ain't such a big deal on APS-C digital cameras.
Stuff you should consider buying:
Gary L. Friedman's Complete Guide to Sony's Alpha 500 & 550. There are three version: the full color hardcopy, the B&W hardcopy, and the pdf. If you're not sure about the A550, consider going to Gary's site and paying $25 for the pdf download. Once you get past the "golly gee" Dick and Jane business at the front of the book, you'll find almost 500 pages of the most thorough treatment of this camera available, with a pretty decent course in digital photography woven in. Even if you don't buy an A550, you'll be a smarter buyer after Gary's book if you're less than a seasoned DSLR user. Gary writes the best books on cameras out there. I read his book on the A900 and initially decided NOT to buy the A900 based on that read. (The A900 has no live view at all and no built-in flash. The next generation Sony pro camera will probably at least have live view. Also, the super high resolution of the current full-frame A850 and A900 will become cheaper fairly soon if the trends of the last 20 years hold true. I decided to spend the big bucks on full-frame Zeiss and G-lens optics, which will hold value much better than any camera body.) At the time of this review, Gary is working on a book on the A35/A55. Once he finishes, he should be able to quickly knock out one on the A560/A580 by starting with his A500/A550 book; most of the work will be adding a chapter on video.
If you want a more compact and portable reference book, consider Magic Lantern Guides: Sony a500/a550 by Peter K. Burian. It's cheap and good. See my review on it. You can learn the camera way faster with Peter's book than with the manual. (But do try to ignore the fact that Peter seems confused about whether the A500 and A550 have program shift.)
You will need something to use to clean the sensor when it gets dust on it. Unless you install just one lens and never take it off, the sensor will get dust on it. At a minimum, get a Giottos Rocket Blaster Air Blower Red (Large) 7.5" AA1903. Friedman doesn't agree with me, but get one anyway. Then consider a VisibleDust Brite Vue Sensor Loupe VisibleDust 3468822, an Arctic Butterfly SL 700 Sensor Brush, a LensPen SensorKlear Loupe Kit w/SensorKlear II, and/or a Digital Survival KIT Sensor Swab Type 2 (w/Eclipse). (Note that Friedman says you should only use E2 fluid. SensorKlear, who produced E2 fluid, now says that after two years of testing, they've proven that their Eclipse fluid is just as safe as E2 on sensors like the A550's. They are phasing out E2.) Don't get all these accessories! Just get the blower and check the others out. I especially like the VisibleDust Sensor Loupe, and I'd by the cheaper version of the two available on Amazon.
As an aside, I think I'd better tell you what I've learned about cleaning the sensor. First turn the camera body face down and switch it on and off a few times, which shakes the sensor. If that doesn't work, insert a well-charged battery, turn the body face down, and switch the sensor clean mode on and off a few times. It isn't documented, but that gives the sensor a better shake (like an ultrasonic cleaner) than the on-off shake I only know because I can feel it. If that doesn't work, be sure you have a well-charged battery (or put it on an external power supply), turn on the clean mode, remove the lens or body cap, hold it face down, and use the blower. By holding it face down, you have better odds of causing debris to fall out of the camera. If the blower doesn't work, consider the other options I listed previously. The blower has always worked for me so far. [Update: I later did have to use a brush.] If you are klutzy with delicate instruments, and the blower doesn't work, take it to a camera shop. You have to be very careful about poking around the sensor. Never use a sensor brush on anything but the sensor so you don't pick up any contamination on the brush. The only exception might be on a squeaky clean filter if you want to test the brush's condition before using it on the sensor. Also, if your Arctic Butterfly brush seems loose or falls apart the first time you turn it on, just push it back together to assemble it properly. Some were shipped without being properly assembled. (Hard to forgive, considering the price.)
Get one spare battery and consider getting a charger with a camera DC supply built in. The DC supply is nice when you need to work on your sensor, but it is not essential. The charger that will handle two batteries is especially nice, because you can leave batteries in it indefinitely without concern about over charging. Read the manual carefully on this subject, BTW.
I strongly recommend against buying batteries not made by Sony. Learn from my mistake: I bought two third party batteries and both had problems. One would never charge to a sufficient voltage to turn out the "charging" light on the Sony charger. On the two-battery charger, the displayed messages were messed up with both of the batteries. Nothing I could do would make the batteries show a full charge when placed in the camera. Finally, the batteries lasted about half as long as the Sony batteries. Don't be penny wise and pound foolish. Twenty dollars saved on a battery can shut down hundreds or thousands of dollars worth of camera equipment.
If you get a separate flash, get lithium (non-rechargeable) batteries for it or either NiMH or NiZn rechargeables. I have the HLV-F20AM and the HLV-F58AM flashes and I love them. I advise, however, that the A500/A550 built-in flash is quite capable, providing good, even illumination. Of course, it can't do bounce, it can't operate off the camera, and it has much less power.
For lenses, I bought the Zeiss 24 -70mm f/2.8 Zoom , the 70-300mm f/4.5-5.6 G-Series Compact Zoom (it isn't really compact), and a used Minolta 17-35G. I bought these before my A850, partly because I knew I'd eventually get a full frame camera. The Zeiss 16-35mm f/2.8 Zoom has a wider aperture and marginally better optical performance than my used Minolta option, but the Minolta is lighter weight and somewhat less expensive. Otherwise, my three lenses are the best available zooms in their ranges for Sony. The Zeiss 24-70 (which is available for some other camera brands) is possibly the best SLR zoom lens made, period. I expect you'll want to start with much more affordable choices, however. I strongly recommend the Sony DT 16-105 as a rock-solid performer at a much more reasonable price. This lens is compact and practical and is my walk-around lens on the A550. Of course, it, like all DT lenses, will not support a full-frame camera like my A850. Search Amazon for Sony DT 16-105mm f/3.5-5.6 Zoom Lens. Others to consider are the basic kit lens and the Sony DT 18-200mm f/3.5-6.3 Zoom, which won't be quite as strong in overall optical performance as the 16-105, but offers the very popular super zoom range at a low price. The ultimate walk-around DT lens is the Zeiss DT 16-80mm f/3.5-4.5, but it's pricey, especially given its zoom range. Zeiss and Leica make the best camera optics in the world, bar none, and I speak from experience. (I'm a Ph.D. experimental physicist, so I understand this stuff, too.) The Sony G-series represents the (non-Zeiss) Sony premium line, inherited from the Minolta premium line. Do check out Friedman's recommendations for some very affordable used Minolta lenses. I can vouch for the fact that some of them are very, very good. Another upside is that Sony builds shake-reducing image stabilization into the camera instead of into the lenses, so these older lenses get the full benefit of stabilization. The downside is that their focal lengths were chosen for full-frame use, and they are
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