The Sony Alpha 350's pull-out and folding 2.7in screen is certainly capable of high-quality playback, but Live View is grainy and blacks out almost completely in low light, so it’s not as useful as it could be for night scenes. Conversely, in bright daylight the screen washes out easily and is almost impossible to keep free of frustrating smudges.
As the monitor doesn’t fold flush with the Sony Alpha 350's body, it’s especially noticeable if you have been using the viewfinder. You have to press your face up tightly to the screen, otherwise distracting reflections appear in the eyepiece. The space required for the additional video-feed in the prism area also makes for a cramped viewfinder experience, reminiscent of the tiny Four Thirds system digital SLRs.
Add to all this the overly deep body and undersized handgrip, the lack of a rear selector dial and small, poorly placed buttons arranged on the left-hand edge of the body, and you have a heavily compromised design. Sadly, the ergonomics don’t work for me and the Sony Alpha 350's overall effect is unconvincing.
To help counter this, some high points of the Sony Alpha 350 include unlimited frames-per-second (fps) continuous shooting in Jpeg mode with a fast CF card (dropping to just six Raw frames before stalling), simultaneous Raw and Jpeg capture, bracketing for WB and exposure (but only up to a rather limiting ±0.7EV). A handy detachable battery pack, complete with additional shutter release, is also available as an option.
Unlike Sony’s recently released CMOS-based Alpha 700, the 14Mp Alpha 350 returns to CCD. Free of additional heat demands from extended Live View operation, the main CCD delivers silky smooth images across a wide range of sensitivities. As the all-important noise levels are low, the majority of users will find the maximum ISO3,200 quite usable.
At lower sensitivities, the Sony Alpha 350's picture quality is very high and, thanks to the high-grade Carl Zeiss zoom and built-in antishake system, images are pin sharp. At the wider 24mm equivalent setting, acceptably sharp images can be had at 1/10 second. Over conventional, non-image stabilised alternatives, that’s a gain of around 1.3 stops, and a pretty convincing result for the A350.
Apart from inaccuracies under indoor lighting, where images appear to have a slightly more orange appearance than the majority of rivals, the Sony Alpha 350’s colour rendition is good. It doesn’t quite match that of the superb colour from the semi-pro Alpha 700, but it doesn’t fall behind the Canon or Nikon equivalent.
For imaging creatives, one of the most offputting aspects of the Alpha A350 also applies to others in the range, and that’s the maker’s somewhat pricey and limited choice of system accessories and optics. While there are some outstanding optical designs in the range, such as the four Carl Zeiss lenses and the maker’s re-badged Minolta G-series, few offer the benefits of built-in, purpose-designed motors like rivals’ quieter and faster-focusing ultrasonic offerings. Some lenses, particularly wide-angle and macro types, don’t usually have a real need of it, but when you can buy into it so easily with Canon, and a lesser extent Nikon, it makes you wonder why you should put up with less.
On the plus side, Sony's Alpha 350 shows great image quality, an effective antishake system, a good build and a handy pull-out LCD monitor. However, we weren't so impressed with its ergonomics, its poor layout of controls and tunnel-like viewfinder. Live View compromises its conventional use, plus there's a limited range of pricey accessories and lenses.