Sony DSC-F707 Review
Published Aug 1, 2001
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dpreview staff
This section of the review has been moved here because it was based on
a pre-production DSC-F707 (but some of it is still valid).
Compared to the Minolta DiMAGE 7, contd.
Continuing to compare the Sony DSC-F707 to the Minolta DiMAGE 7 we switch
to our standard 'liquor bottles' scene.
Note: Comparison shots below were made with a pre-production Sony DSC-F707,
a production comparison can
be found here.
Scene comparison
Cameras were reset to factory defaults. Aperture priority was used on
both cameras to use an aperture of F5.6 (or as close as possible), ISO
100, various exposures were taken and the two with the closest balance
(histogram) were selected. White balance was set to Manual Preset. Lighting
- 2 x 800W studio lights with dichroic daylight filters bounced off a
white ceiling reflector.
| Sony DSC-F707
(pre-production) |
Minolta DiMAGE
7 (v021e) |
ISO 100, F5.6, 1/2 sec, JPEG FINE
Straight from camera |
ISO 100, F5.6, 1/4 sec, JPEG FINE
Converted to sRGB |
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| Sony DSC-F707 |
Minolta DiMAGE
7 (v021e) |
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| Sony DSC-F707 |
Minolta DiMAGE
7 (v021e) |
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Looking at the overall tonal balance the DiMAGE 7 shot appears slightly
'flat' with lower contrast, shadow areas are a little lighter but noise
is also quite evident. Again, the F707's Clear Color noise reduction seems
to work very well. Resolution wise the F707 appears to be able to pull
that little bit more out of the finest details (see the watch face, black
text on the colour patches and the Martini label).
Colour is clearly far brighter and more vivid from the F707, it's also
(to my eye) more accurate, especially the white wine bottle, the Gin bottle
and the colour of the Cyan patch (which the DiMAGE 7 has turned a dark
blue). All this praise aside the F707's overexposed red problem has raised
its ugly head again on the orange, pink and red crayons.
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Sep 6, 2001
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Aug 27, 2001
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Jun 29, 2004
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Jun 29, 2004
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