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Fuji Fujifilm FinePix S2500HD Digital Black Camera (28-504mm), EVF

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Excellent condition camera with Fujifilm lens cap and Fuji strap.
S/n: last photo. Perfectly working order!
EMS 50 baht, Cash on Delivery Available (COD เก็บเงินปลายทางได้)
or meeting in North Pattaya.
More photos and questions via Line ID: gnnick

About this item
12.2 MegaPixel sensor captures enough detail for photo-quality 18 x 24-inch prints
18x Optical Zoom; Wide-Angle Lens
3 inch LCD screen; Dual Image Stabilization
Panorama Mode * SR AUTO & Face Detection
HD compatible * Capture images to SD/SDHC memory cards (not included)
Introduction

The Fujifilm FinePix S2500HD is a new super-zoom digital compact camera that looks and feels like a DSLR. Featuring an 18x zoom lens with a 28-504mm focal range, 12 megapixels and a 3 inch LCD screen, the Fujifilm S2500HD offers full manual photographic control for the more experienced user and an Automatic Scene Recognition mode for beginners. For movie makers the S2500HD has the must-have feature of 2010, high-definition 720p video recording at 30fps, with a mini HDMI Port for quick and easy connection to a HDTV. Dual Image Stabilization, an electronic viewfinder, ISO 64 up to ISO 1600 at full resolution, high-speed shooting of up to 20 frames at 8 fps (at 3 megapixels), Tracking Auto Focus and Panorama Shooting mode complete the S2500HD's main specifications. With a competitive price tag of £219 / $249.95, the Fujifilm FinePix S2500HD is one of the cheapest super-zooms available.

Ease of Use

The Fujifilm FinePix S2500HD bears a striking resemblance to its predecessor, the S1500 model. This is a bridge or 'super zoom' camera that, despite resembling a digital SLR that's been shrunk in the wash, shouldn't scare off those more used to operating pocket-sized point and shoots - which happens to be exactly the main audience that Fujifilm are targeting. The cost is likewise unthreatening, which at a suggested asking price of an affordable £219 / $249.95 is less than both more fashion-orientated snapshot models and competing super-zoom rivals. Size and pricing aside, this 12-megapixel camera is as much about user friendliness as creative flexibility. For those with kids or subjects that don't stay put its auto focus tracking ability will doubtless come in handy, as will its most prominent feature, the immensely versatile 18x optical zoom, which has been both widened and lengthened in comparison to the S1500's mere 12x lens.

Given the enormous lens reach of 504mm, image stabilisation is included, here the 'belt and braces' arrangement of CCD shift anti shake plus high ISO speed (up to ISO 6400, albeit with a drop to 3 megapixels if straying above ISO 1600). In practice therefore with the Fujifilm FinePix S2500HD it's mostly a case of a half press of the shutter release button and the camera does the rest, particularly with Fujifilm here including an 'auto everything' scene recognition (SR) auto mode. Although far from infallible - if you're not paying close attention and it's presented with a busy scene it'll call up landscape when macro is needed and vice versa - it adds to the beginner friendly feel. And, if there's not time to set the photograph up manually, with a single button press an instant zoom feature crops in closer (using either 1.4x or 2.0x digital zoom), providing either a landscape or portrait format image.

Also worth a mention up front is the S2500HD's high speed-capture capability - up to 20 pictures sequentially at 8 frames per second - albeit with, as perhaps expected, resolution dropping to three megapixels to achieve its headline-grabbing numbers. A compromise would be 10 sequential photographs at 3.3fps at a reduced resolution of 6 megapixels - at least that way a level of quality might be achieved that you would actually want to produce a print from.

As its name suggests, the S2500HD introduces high-definition video for the first time to the Fujifilm S-series, capturing 1280 x 720 pixel footage at 30fps with mono sound, full use of the 18x zoom and a maximum recording time of 15 minutes per clip. Alternatively there are also 640 x 480 pixels and 320 x 240 pixels modes, also at 30 fps. As with all other cameras with HDMI ports, there's no HDMI cable included in the box. You could use Fujifilm’s optional HD Player Kit instead, which includes an HD card reader that connects the camera to your HDTV, and even a wireless remote control.

Given its beginner market the Fujifilm FinePix S2500HD's buttons and controls are for the most part large, particularly the familiar mode dial on top. They're also sufficiently self-explanatory that the manual - a full version here on CD only - doesn't need to be digested before you're up and shooting. As for the remainder of the box contents, you'll need to supply your own SD, SDHC or SDHX card for image storage, though thankfully the four AA batteries required for power are included.

The front of the S2500HD looks much the same as any bridge model; that's to say it's dominated by the lens barrel, the tip of which extends 1.5cms past the grip when the camera is inactive, and then extends by a further 3cms when zoomed to full telephoto. Above the lens sits the forward sloping ridge housing the integral pop-up flash. A dedicated button for activating this spring-loaded mechanism sits to its right, three pin prick-sized holes for the built-in microphone just below.

Over at the other side of the lens is a portal housing the AF assist light, to the left of which is the comfortably moulded grip, with some leather-effect padding to help prevent your fingers slipping. For anyone with average sized hands there's just enough room to squeeze three fingers around the grip, leaving your forefinger automatically hovering over the shutter release button situated at the front of its slope, and your thumb pressed against the slightly indented pad at the rear. While you certainly wouldn't want the grip to be any smaller, it feels just about right given the overall size of the camera.

The Fujifilm FinePix S2500HD's L-shaped top plate looks at once familiar and approachable, the largest control being a ridged mode wheel featuring 10 settings. Starting with full auto mode and moving clockwise we come to one of the camera's main selling points, the aforementioned SR (Scene Recognition) auto, and, continuing in the same direction next alight on SP (Scene Position). This mode features standard pre-optimised settings for 15 familiar scenes and subjects, accessed by pressing the 'menu' button at the camera's rear, and includes portraits, landscapes, sunsets, fireworks plus a natural light and museum mode amongst its selection.

Continuing clockwise around the dial we come to another of the Fujifilm's user-friendly features, its panorama mode, which allows the user to shoot a sequence of three images that the S2500HD automatically stitches together in-camera - no additional software or technical skills required. A narrow portion of the previous frame is displayed as the user pans from left to right taking shots, so you can line up the joins with a reasonable level of accuracy. Though not essential, it's another fun extra that should appeal to the family target market, and will surely come into its own as an aide memoir for holiday vistas. After a little practice, surprisingly successful results can be achieved, although the overall resolution of the resulting picture is limited to 4880x1296 pixels.

Next around the dial is a setting for the already mentioned video capture - note that there's no one-touch video-record button on this camera. What's more of a surprise is that with a successive turn of the dial we come to a user-attributable custom setting, a feature more commonly found on a DSLR proper. Compounding the indication that the S2500HD perhaps has something to offer the photo enthusiast after all, there follows the creative quartet of manual, aperture priority, shutter priority and program modes, allowing full access to manually selectable ISO speeds, quality settings and of course colour effects. And, with a further twist, we're back to full auto again.

Alongside the shooting mode dial is a larger than average on/off slider, partly recessed into the bodywork to prevent accidental activation. Slide this to the right and the S2500HD powers up in just over a second - pretty quick for this class of camera - the rear LCD displaying a Fujifilm logo initially before blossoming into life. There's also the option of an electronic viewfinder for shot composition - more on which later.

Forward of this slider are a pair of raised, identically sized buttons. To the left is a dedicated control for activating face detection which biases the focus and exposure toward any faces in the frame. Press it once to couple this with automatic red eye removal (if using flash obviously), or again to shoot without the red eye removal option. Joining face detection are blink detection, which warns you if any of your subjects have blinked, and Smile Detection, which automatically takes the picture when your subject bares their pearly whites.

The button to the right is for accessing the various burst mode settings, as mentioned above. This replaces the S1500's Image Stabilisation button, which is now found in the main menu system. Like every other such system in existence, the one employed by the Fujifilm FinePix S2500HD isn't infallible - it's tricky, if not impossible, to get a perfectly sharp image when shooting handheld at maximum telephoto even in seemingly ideal light conditions. But, given the focal range, its inclusion here is a must.

Forward again of these buttons is the shutter release button, surrounded by a lever for operating the zoom. Happily the former has a definite halfway point so that a premature capture is avoided, the camera giving an affirmative 'beep' when focus and exposure have been determined and the AF point highlighted in green dancing around the screen if either your camera or subject is moving. With a nudge of the zoom lever, the camera takes just under four seconds to move through the range from maximum wideangle to telephoto. Full resolution JPEG images are saved almost instantaneously when shooting in single shot mode, so no complaints there.

At the rear of the S2500HD we find the rest of the operational controls. Like the top plate, these are well laid out and their functions ably illustrated. Starting top right of the 3-inch, 230k-dot LCD screen, there's an EVF/LCD button for alternating between the two features, although, with the larger screen literally staring you in the face when you pick the camera up, it's hard to see the S2500HD's target audience bothering to squint to use the EVF situated above.

Directly below this button there's an identically sized one for playback, and, to its right, one for Fujifilm's 'F' (for 'Foto') mode. As with the rest of the manufacturer's compact range, one press of this provides access to an abbreviated menu containing just the essentials: resolution and compression level, ISO setting and, arguably less essential, three different colour effects. Immediately below this again we have a four-way control pad/jog dial with a familiar menu/OK (set) button at its centre. Placed at the four points are icons for deleting images and setting the monitor brightness, selecting flash modes (auto/slow synchro/forced flash), the aforementioned image-cropping 'instant zoom' feature which presents a choice of two successive landscape ratio crops and two portrait ones, plus macro and super macro settings.

Press the Fujifilm FinePix S2500HD's central 'menu' button in anything but auto mode and you're presented with two clearly read screens of shooting options when in capture mode or review mode (if shooting using one of the auto settings, options are abbreviated to turning self timer or high speed shooting on or off, plus access to the set up menu). The set up menu itself is divided into three folders allowing the adjustment of operational volumes, screen brightness, and the ability to format the inserted memory card or internal memory. Thankfully here Fujifilm has indeed gone with the more widely available SD than retaining historical loyalty to the now outgunned (in terms of available capacity) xD-Picture Card, a slot for which is provided at the base of the camera where it's shared with the four regular AAs required for power. This means that if you're shooting with the camera on a tripod, you have to first remove the camera to remove the card, which is a bit of a pain but far from uncommon.

Located beneath this central four-way pad is a final pairing of buttons. On the left we have the self-explanatory 'Display/Back'. Pressing this turns off the visible icons on screen and/or calls up a nine zone compositional grid when in capture mode, or, as it sounds, jumps back a step if you are poised to delete an image in playback mode but think better of it. The final button to the right is for exposure compensation. Press this in any of the auto modes and a live histogram displaying the areas of brightness across the image is revealed. Press it again in any of the creative modes and the user not only gets a histogram but an adjustable exposure slider too, plus the ability to change the aperture and/or shutter speed, depending on which mode you're using.

The right hand flank of the S2500HD (when viewed from the back) features a plastic flap covering a combined AV out and USB port, above which is an eyelet for attaching the provided shoulder strap. On the left hand flank there's another eyelet at the top plus a built-in speaker near the base. The base of the Fujifilm FinePix S2500HD meanwhile features a plastic screw thread for a tripod next to the large compartment housing the memory card and batteries.

Image Quality

All of the sample images in this Review were taken using the 12 megapixe Finel JPEG setting, which gives an average image size of around 5.5Mb.

The Fujifilm FinePix S2500HD produced images of good quality during the review period. This camera handled noise very well, not becoming obvious until the relatively slow speed of ISO 800 and then becoming progressively worse at the faster setting of ISO 1600. The fastest setting of ISO 3200 and 6400 are recorded at 3 megapixels and therefore aren't really worth using.

Chromatic aberrations were well controlled, with limited purple fringing effects appearing only in high contrast situations. The 12 megapixel images were sharp enough straight out of the camera at the default sharpen setting and don't require further sharpening in an application like Adobe Photoshop.

Macro performance is excellent, allowing you to focus as close as 2cms away from the subject when the lens is set to wide-angle. Barrel distortion is clearly evident at the 28mm focal length. The built-in flash worked quite well indoors, with just a little red-eye and adequate overall exposure, although there is noticeable vignetting at 28mm.

The anti-shake system works well when hand-holding the camera in low-light conditions or when using the telephoto end of the zoom range. The maximum shutter speed of 8 seconds is a little disappointing but just allows the camera to capture enough light for most after-dark situations. The Panorama mode makes it fairly simple to take wide-vista shots, although the resolution is limited to 4880x1296 pixels.  More:  https://www.photographyblog.com/reviews/fujifilm_finepix_s2500hd_review
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  • 29 Feb 2024 : 11:10 am

I bought this camera for a very special wedding occasion in Kefalonia Greece so as to get as best I could to professional photos' as I am no photographer in short it was great, the photos', video's, the zoom function was fantastic, since that special time the camera was put away and has never been used since as I tend to stick with my compact, I would say that this camera has only taken some 300 shots since I bought it, the camera was first purchased from Curry’s in the UK on Sept 2018. The camera has been inspected and tested for function and works fine, therefore the camera is and remains in exceptional condition. It is now time to sell it on to someone more professional than I who can use it for what it was designed for. I will consider any offers and offer free delivery in the Pattaya Area. If you wish to read the speck of this camera it is well documented on the internet and is impressive reading.

Irix 15mm f2.4 Ultra Wide-Angle Lens for Nikon F Mount, Weather-Sealed

Irix 15mm f2.4 Ultra Wide-Angle Lens for Nikon F Mount, Weather-Sealed

  • 16 Mar 2024 : 09:33 am

Video: https://www.youtube.com/watch?v=hzaBoZASJwk Irix Firefly 15mm f/2.4 Ultra Wide Angle for Full-Frame /APS-C (24mm), Fully Weather-Sealed with Built-in AE Chip for Nikon F cameras, Neutrino coating, Lightweight ABS construction, 110-degree field of view, perfect lens for landscape, architectural and even interior photography, night and astrophotography. Made in Korea lens with two original caps, hood, box etc. https://irixlens.com/photo-lenses/15mm/ Fully tested in excellent condition. S/n: last photo. EMS 50 baht, Cash on Delivery Available (COD เก็บเงินปลายทางได้) or meeting in North Pattaya. More photos and questions via Line ID: gnnick Irix 15mm f/2.4 Firefly Lens for Nikon The Irix 15mm Firefly is a manual, super-wide-angle lens that allows you to include much more of the scene for a greater sense of space and incredible effects. It's the perfect lens for landscape, architectural and even interior photography. 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Creative Tool It doesn’t matter if you are a professional photographer looking for a lens for your next job, or an amateur looking to expand your focal range – the Irix 15mm f/2.4 is a right choice for every landscape photographer! The Irix 15mm f/2.4 lens is an ultra wide-angle lens created for your full frame (35mm) camera, available in Nikon F, Canon EF, and Pentax K mounts. This lens will allow you to open up to a completely new type of photography – thanks to the 110-degree field of view you will be able to capture eye-catching images, and the excellent optical properties will make the image sharp and full of details. One Lens – Two Versions The Irix 15mm f/2.4 comes in two verisons: Firefly and Blackstone. Firefly – Lightweight composite construction, with an embossed rubber focus ring, allowing for smooth and precise focusing. Included with the lens is a soft pouch. Additional Features Click at infinity – enables precise, easy, and quick focusing. 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  • 16 Mar 2024 : 10:19 am

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The A9 never misses a shot: it finds, tracks and keeps in focus whatever it is you're trying to shoot, and does it all automatically, presuming you're using a Sony GM lens that's up to the task. A lot of this is because the A9's AF system is always looking at the subject, while at fast frame rates DSLRs spend very little time each second looking at the subject because the mirror is flipped up making exposures half the time or more. The Sony A9 is all about Sony's newest-technology image sensor which, for the first time ever in full-frame, lets the A9 read the image from the entire sensor at about the same time. Because it's essentially read-out at once, gone are the "rolling shutter" effects of the past. The A9 is in a completely different world than the older Canon 1DX Mk II and Nikon D5. The A9 runs significantly faster and with more resolution, but most importantly, does this in complete silence and the finder never blacks-out or gets smeary. You won't even know it's shooting other than the thin gray frameline that blips in the finder to let you know it's capturing frames. You won't believe me until you get your own A9. The silent shutter mode isn't on by default; you have to set it at MENU > Camera 2 > page 4/9 > Shutter Type > ELEC. In silent mode you can be blazing away at twenty full 24 MP frames per second, even in raw with the A9's huge buffer, and no one may notice you're shooting. By comparison, every single frame in the "quiet" modes of the pro Canon 1DX Mk II and Nikon D5 are so loud that I can hear them echo off the neighbor's houses. The pro DSLRs are the very loudest cameras of all. The A9 isn't about light weight, even though it's about as light as Sony's other full-frame cameras; the A9 is about outshooting Canon or Nikon, and doing it silently. The A9 is smaller and lighter than most, but not all, DSLRs, but when you add full-frame lenses to it, it loses most of the weight advantage. With a 50mm or 55mm f/1.8 lens, some full frame DSLRs like the Canon 6D actually weigh the same or less. Many buttons are programmable, so you can program them to do just about anything. It has three memory recalls on its top mode dial, so it's easy to set up one for photos of things (Vivid picture with +3 Saturation), one for people pictures (standard color with +1 Saturation), and the other for anything else, like sports or a custom white balance. If three memories aren't enough, there are four more hidden ones, M1, M2, M3 and M4, which are almost as easy to recall. The AF and advance modes (frame rates) have their own knobs, so these don't save and recall.  New All-new sensor technology allows the camera to read the entire sensor almost at the same time, so the "rolling shutter" and blackout effects of earlier cameras are gone. We can shoot at 20 FPS and the finder never blinks. This is the first time anyone has done this in full-frame; the RX100 Mk V does this, but with a much smaller sensor.  693 phase-detection AF points cover the entire full-frame image. Your subjects can run, but they can't hide in the sides of the image.  Calculates exposure and autofocus at up to 60 frames per second.  Two card slots.  New thumb-nubbin controller on rear.  Three memory recalls on the top mode dial, with four more presets almost as easy to recall.  Drive mode dial.  Focus mode dial. Two separate AEL and AF-ON buttons, instead of just one button with a selector lever as on A7RII, A7SII, A7II and A7.  C3 button moved to left side of camera; it's on the right on A7RII, A7SII, A7II and A7.  New, bigger NP-FZ100 battery lasts about 1,500 shots with burst shooting (rated 480 single shots).  In-camera 5-axis sensor-shift stabilization claims 5 stops improvement.  Turns on 30% faster than the A7R II; turns on and ready to shoot as quickly as I can bring it to my eye.  Shoots 4K video using the entire 36mm width of the image sensor.  Uncompressed 4K HDMI output (but the A9's LCD won't work in this mode).  XAVC S high-bitrate video formats for 50~100 MBPS video.  Under- and over-crank video from 1 FPS to 120 FPS, MOS (without sound).  Good  Magnificent electronic finder: always big, bright, sharp and wonderful in any light. Super-bright in daylight, and dims perfectly indoors and at night.  Two card slots.  Hybrid AF system uses phase-detection for speed and contrast detection for ultimate precision and accuracy.  Battery life seems almost unlimited (up to 5,000 shots or more) running bursts at 20 FPS with the silent shutter.  Solid mostly metal construction.  Even the regular mechanical shutter only moves at the ends of exposures. There's never any need for a special vibration-free mode; it always works this way. Suck on that, LEICA!  Excellent high ISO performance.  Facial recognition works well, but only after you find it and turn it on.  In-finder 2-axis level works great for keeping horizons and vertical lines as they should be.  In-camera, as-shot automatic lens vignetting, lateral chromatic aberration and distortion correction.  Almost any lens of any brand or age can be adapted to work - but with no lens corrections.  Stereo microphone built-in.  3.5mm powered mic and headphone jacks.  Can extract stills from video, in-camera after it's shot. In other words, shoot 4K video and you can pull-out 8MP stills shot at 30 FPS.  Bluetooth & NFC... The A9 uses the Sony E-Mount, formerly called the NEX mount, whose shallow 18mm flange focal distance allows better lens designs than DSLRs do — the same advantage rangefinder cameras have, as well as allowing just about any lens to mount with an adapter. The A9 works best with all the lenses made by Sony, Zeiss and others for Sony's mirrorless E-Mount. If you mount a Sony or Zeiss APS-C lens, it automatically uses only the central APS-C section of the full-frame sensor. You'd never know, since all the displays just look right. It's that seamless, but sort of silly to waste most of this camera's sensor area with an APS-C lens. While you can adapt any lens of any brand or age to the A9, they won't work as well as native Sony or Zeiss FE lenses, or Alpha or MAXXUM lenses with the LA-EA4 adapter. Those lenses autofocus extremely well, but once you use an off-brand lens or adapter, lenses that perform magnificently on their own brand of camera may or may not autofocus that well. If you demand the best performance, just use the same brand of lens as your camera. Adapters should never be your go-to for the best performance. Don't expect the best results for sharpness or for autofocus from other-brand adapters if you're picky. Adapters are great for fun; you can get adapters cheap for any kind of lens, but not only may autofocus be iffy, adapted wide-angle lenses usually aren't very sharp on the sides at large apertures because Sony's full-frame mirrorless sensors are optimized for lenses with a curved fields. Most other adapted lenses won't seem very sharp on the sides at large apertures due their flat fields not interfacing well with the curved fields needed by Sony's sensors on these cameras. If you get the center in focus, the sides will probably be off, and if you get the sides in focus, the center will be off. This is more of a problem with wider lenses and at large apertures; stop a lens down and the sides will come into better focus. The A9 runs at its full 20 FPS with adapted manual-focus lenses. Metabones Mark V Adapter (you can buy in our shop) The Metabones Canon EF to Sony E-Mount Mark V Adapter is the best I've used. It works with every crazy Canon lens with which I tried it, and the results were usually much sharper than I expected. Silent shooting: no one asks why I'm taking pictures, period. Sensor-stabilization makes it easy to hand hold at 1/15. While LEICA lenses are the world's finest, they are not designed for the curved fields or rear nodal point positions optimized for the Sony cameras, and like all other adapted lenses, perform more poorly than Sony's own lenses because the sides and corners often aren't in proper focus. LEICA lenses of 35mm and wider aren't as sharp as they should be at the sides. They sharpen up as stopped down, but if you want great results, use LEICA lenses on a LEICA camera, or use Sony's lenses on the A9. It all has to do with the specific alignment of micro lenses and layer configuration towards the sides of the sensor. Specifically, there is a lot of field curvature induced by the design of the Sony sensor, and to focus at infinity at the sides with a modern semi-retrofocus LEICA SUPER-ELMARIT-M 21mm f/3.4 ASPH, you have to turn the focus ring to about 10'/3 meters! With the 1959 SUPER-ANGULON 21mm f/4 whose rear nodal point really is only about 21mm away from the image plane, you have to set the focus ring to about 3'/1 meter to get things at infinity in focus at the sides!!! Because of this, I've tried and confirmed that my cheap Voigtländer 21mm f/4 works about as well on my A9 as my genuine ASPH LEICA 21mm. Not only does the combination of a LEICA (or other traditional Nikon or Canon) lens and Sony A9 sensor induce field curvature (there are a lot of optics and micro lenses on a sensor before you get to the light-sensitive part), it also induces astigmatism: the sagittal and meridional planes diverge. There's no need to splurge for the latest APO ASPH LEICA lenses since the LEICA's (or anyone else's) lenses, with their flat fields are never going to be that sharp across a frame that's expecting a curved field lens. Therefore, it's best to select the lightest-weight (older) lenses rather than the hottest new ones. The performance of my LEICA SUMMICRON-M 35mm f/2 (7-element) is the same as with the newest LEICA SUMMICRON-M 35mm f/1.4 ASPH (floating element), so I prefer to use the older, lighter lens. Here are two samples shot with the LEICA SUPER-ELMARIT-M 21mm f/3.4 ASPH at f/3.4 on the Sony A9. Click either to get the camera-original file and look at each at 100%: Summary Stick with lenses sold by Sony, be they branded Sony or Zeiss, for the best results as you expect. Sony's GM lenses are especially excellent in every way on the A9. Adapting lenses of other brands, even though these lenses may be state-of-the-art on those manufacturers' cameras, probably won't be that breathtaking on the A9 — or any other camera of a brand different than the lens' manufacturer. Stick to Sony G and GM lenses on the A9 and you won't go wrong.  Auto ISO Upper and lower limits selectable from ISO 100 to ISO 204,800 in full stops (limited to ISO 102,400 for video and ISO 25,600 with silent electronic shutter). Slowest shutter speed settable in full stops from 1/16,000 to 30s in full stops, as well as an Auto setting that varies with the lens focal length. The Auto Slowest Shutter Speed setting my be varied ±2 stops slower or faster than the lens' focal length.  Image Sizes Cropped Sizes The A9 automatically crops the full-frame down to APS-C if you mount an APS-C lens, or you can set this manually (MENU > Camera 1 > page 1/13 > APS-C/Super 35mm > ON), and either of these 1.5:1 formats may also be set to a 16:9 crop. On Left: Ethernet (WLAN for FTP connections). PC (Prontor-Compur) flash sync. On Right: 3.5mm microphone jack with plug-in power. 3.5mm headphone jack. Micro-D HDMI. The HDMI output supports 3,840 x 2,160 (25p), 1,920 x 1,080 (50p, 50i, 24p, 60p, 60i and 3,840 x 2,160 at 30p and 24p. YCbCr 4:2:2 8-bit and RGB 8-bit. Multi/Micro USB 2.0. On Top and Bottom: Hot shoe, which is also a Sony "Multi Interface" Shoe. Vertical Grip Connector (inside the battery chamber). WiFi IEEE 802.11 b/g/n Infrastructure mode 2.4 GHz. WEP, WPA-PSK and WPA2-PSK. Wi-Fi Protected Setup (WPS) or Manual setup. NFC NFC Forum Type 3 Tag compliant Bluetooth v4.1. 2.4 GHz. Model No. WW361847. Power & Battery Consumes about 4.1W (5.3W for video) using the finder and 3W (5.0W for movies) using the LCD. Sony NP-FZ100 rechargeable lithium ion battery included Magnesium alloy top cover, front cover, internal frame and rear cover. The grip area has been reinforced with magnesium alloy. Sony claims weather seals around most of the buttons and dials, but there are no seals on the card and connector covers.

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