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Viewfinder (8.25)
The viewfinder on the A200 is identical to the A100. It has 0.83x magnification and is 95 percent accurate, which is typical for digital SLR optical viewfinders. It’s above the LCD screen and is surrounded by a soft rubber eyecup.
Like its predecessor, the A200 features a small sensor under the viewfinder that detects when the user’s face is approaching the viewfinder. This automatically turns off the LCD and starts up the auto focus system in preparation for shooting. The diopter control is to the right of the viewfinder, and allows 11 steps of adjustment, from -2.5 to +1, for users who wear eyeglasses.
The viewfinder is acceptably clear, but noticeably darker than higher-priced SLRs. This is the result of using a mirrored prism design instead of glass. Mirrored prisms are less expensive, but don't pass light through as efficiently.
A small horizontal strip at the bottom of the viewfinder displays shooting information: focus, image stabilization levels, exposure compensation, shutter speed, aperture, shake warning, shots remaining, flash charge status, high speed sync, manual focus, AE lock and aspect ratio.
Sensors beneath the viewfinder turn the LCD off
when you hold the camera to your eye.
Live View
Unlike its pricier brandmates, the A200 lacks the Live View function that's gaining ground among consumer-priced SLRs (including Sony's own higher-end models). Live View allows a photographer to see the image on the rear LCD screen before hitting the shutter, the same way nearly every compact digital camera on the market works. The mechanics of an SLR are different from a compact, though, requiring a moving mirror to enable the user to see through the actual, interchangeable lens taking the picture. As a result, Live View systems for SLRs are both tricky to implement and often disappointing from a performance perspective. That said, for users moving up from a point-and-shoot, the ability to compose a photo on-screen is a powerful drawing card, and even a more sophisticated user will welcome the option to hold a camera overhead or off to the side and still see what you're shooting from time to time. If this strikes you as a killer feature, this camera isn't going to deliver – check out Sony's A300 or A350, or Canon's XSi instead.
LCD Screen (4.75)
As on other inexpensive SLRs, Sony opted not to incorporate a monochrome secondary LCD screen on top of the camera to display shooting information. Instead, the 2.7-inch, 230,000-pixel LCD does double duty, displaying shooting information when users aren’t reviewing their photos in playback mode
By pressing the "DISP" button, users can toggle the shooting information screen between two views, one more detailed than the other. The more complete version includes Exposure mode, shutter speed, aperture, exposure, AE lock status, exposure compensation, ISO setting, drive mode, auto focus, metering setting, focus mode, creative mode setting, white balance, dynamic range optimization mode, battery charge remaining, image compression, image size, and number of shots remaining. Pressing the display button makes the typeface larger and removes the readouts for metering mode, aut focus mode, creative mode and flash mode.
The LCD automatically pivots the display 90 degrees so it's easy to read when holding the camera vertically. LCD brightness can be adjusted in five steps in the Setup menu.
The LCD is also used for navigating the Function, Recording, and Setup menus.
Overall it's an impressive screen, both in terms of resolution and viewing angle, with an anti-reflective coating that works well in bright light.
As on other inexpensive SLRs, Sony opted not to incorporate a monochrome secondary LCD screen on top of the camera to display shooting information. Instead, the 2.7-inch, 230,000-pixel LCD does double duty, displaying shooting information when users aren’t reviewing their photos in playback mode
By pressing the "DISP" button, users can toggle the shooting information screen between two views, one more detailed than the other. The more complete version includes Exposure mode, shutter speed, aperture, exposure, AE lock status, exposure compensation, ISO setting, drive mode, auto focus, metering setting, focus mode, creative mode setting, white balance, dynamic range optimization mode, battery charge remaining, image compression, image size, and number of shots remaining. Pressing the display button makes the typeface larger and removes the readouts for metering mode, aut focus mode, creative mode and flash mode.
The LCD automatically pivots the display 90 degrees so it's easy to read when holding the camera vertically. LCD brightness can be adjusted in five steps in the Setup menu.
The LCD is also used for navigating the Function, Recording, and Setup menus.
Overall it's an impressive screen, both in terms of resolution and viewing angle, with an anti-reflective coating that works well in bright light.
Flash (6.50)
One notable improvement over the A100 is the way the A200 flash works. The A100 had a pull-up flash, which had to be manually lifted into position, where the newer A200 has a pop-up flash. What's the difference? Not much if you're turning on the the flash manually, but with a pop-up it can also be raised automatically by the camera's programmed modes if they detect that illumination is too low to take an available-light shot.
The low flash position can cause red-eye.
As to flash performance, while we'd still opt for an external unit whenever possible, the built-in did a respectable job of providing even illumination, with a good blast of power and enough breadth to light up a group of family or friends in a darkened room. The flash guide number rating is 12 meters at ISO 100. However, the flash doesn't pop up very far, increasing the likelihood of red eye when shooting in a dark room.
On the subject of external flashes, Sony opted for a proprietary hot shoe on top of the viewfinder hump instead of going with an industry-standard connector. Doesn't mean you can't buy a flash that works, in a variety of output ratings and sizes, but it does limit your choices, and means an existing unit you already own from another camera isn't going to do you much good here.
Lens Mount (7.00)
When Sony bought out the Konica Minolta SLR business in 2005, one of the key benefits was a well-established lens format with plenty of choices already on the market, from Konica Minolta, Sony and the usual third-party lens makers.
The basic kit lens for the A200 is a DT 18-70mm zoom (equivalent to a 27-105mm lens on a 35mm film camera), with a maximum aperture of 3.5 at the widest settting and 5.6 on the telephoto side. This zoom is more generous on the telephoto side than some other cameras in this class (the Canon XSi, for example, comes with an 18-55mm kit lens), and the glass delivered reasonable performance. The feel of the lens, though, leaves much to be desired. It feels lightweight and flimsy, the manual focus control is jittery at best, and the loud noise that's emitted when autofocus kicks in is just plain distressing.
When Sony bought out the Konica Minolta SLR business in 2005, one of the key benefits was a well-established lens format with plenty of choices already on the market, from Konica Minolta, Sony and the usual third-party lens makers.
The basic kit lens for the A200 is a DT 18-70mm zoom (equivalent to a 27-105mm lens on a 35mm film camera), with a maximum aperture of 3.5 at the widest settting and 5.6 on the telephoto side. This zoom is more generous on the telephoto side than some other cameras in this class (the Canon XSi, for example, comes with an 18-55mm kit lens), and the glass delivered reasonable performance. The feel of the lens, though, leaves much to be desired. It feels lightweight and flimsy, the manual focus control is jittery at best, and the loud noise that's emitted when autofocus kicks in is just plain distressing.
The A200 accepts Sony or older Konica Minolta lenses.
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