NEX-5
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NEX5
Shooting with the Sony NEX-5
by Shawn Barnett
Sony makes cameras that are easy to love. Not all of them are perfect, but when it comes to design, Sony usually has an edge. That was lost with many of the Alphas, with the exception of the high-end of their body and lens lineup. We definitely see more of Sony's acute design skill built into the NEX-3 and SONY NEX-5 Alpha. Though physically they are very different, functionally they are nearly identical, so I'll talk mostly about my experiences that are familiar with both.
I had to be fairly stealthy when out shooting the new cameras, but they're 
small enough that I was able to conceal most of the camera with one hand. I just wrapped my thumb and index finger around the lens barrel and extended my palm over the grip: all you see is the front of the lens. That was true with both cameras, but easier to achieve with the Sony NEX5 Alpha.
While they don't power-up quickly, the Sony NEX cameras do focus and fire quickly, especially in good light. Focus can take a little longer in low light, as with most contrast-detect cameras. Powering the camera on, though, is a little like watching yourself wake-up after a very deep sleep. You flip the switch, and nothing happens. Then after half a second, the icons appear onscreen. Then after another half-second, the view begins to fade in, from blackness to a dim vision, to full brightness. I confess I've never seen a camera do this. It takes long enough that I've more than once had to check to make sure the lens cap wasn't on.
Generally, if I'm out shooting, I have the camera on, so its power-up time hasn't been an issue. But know that it's not quick, at least not with our pre-release camera.
Although I'm a fan of many larger SLRs, and the Micro Four Thirds cameras from Olympus and Panasonic, I have to say, shooting with such a small camera feels very natural. I think there are plenty who won't like the large lens on the small camera body, but I can't think of anything more appropriate in the digital age. Lens, finder, and grip: that's what a photographer needs. No, an LCD isn't always the ideal viewfinder, but for the target market it's the right choice, and allows Sony to make the camera very small. (An optional optical viewfinder will be available, but it wasn't ready as of press time.)
Auto HDR.
Another multi-shot mode designed to improve your images is the Alpha NEX-5 Sony's HDR mode. Dynamic Range Optimization does a little electronic processing to enhance shadows and maintain highlights, but when that's not doing the trick, you can (after some fumbling in the menus) activate Auto-HDR. Again, this handy mode fires off three hand-holdable images that expose for the highlights, the mids, and the shadows and combine them into one image that has usable detail in all of these areas. Often, these images can look flat, because they essentially process out image contrast. The good news is that the Sony Alpha NEX5 also saves a copy of the middle exposure before building the HDR image, giving it the next number in the series. While I've often been pleased with the HDR image onscreen, I was occasionally glad I had the regular exposure as well, since HDR can too often just look surreal. Not just from the NEX, by the way, but all HDR images.
The Pentax K-7 has this feature as well, but Sony's implementation automatically aligns all three images, even when handheld, while most of the K-7's shots need to be made on a tripod to avoid image mis-alignment. I found a perfect opportunity to demonstrate HDR's benefit: a beauty salon built into the old Woodstock Jailhouse with its door open. Part of its front is lit by bright sunlight, part is in shadow, and the open door is even darker. The key, though, is that I can see into the open door with my eyes, and I can also see detail in bright and shadow areas. But I knew the camera wouldn't. The shot at right shows this clearly. Yes, there are hints of the items seen in the room, but the HDR image manages to assemble a better sample of what my eye made out: cosmetics on a rack, stacked on a table. I think the bright part of the wall is a little
too washed out, but it's about right for what my eye saw, so I can't complain. Overall, in this scenario, HDR did exactly what I think it's supposed to do: give you more of what your eye sees, in one image. Our eyes and mind are compensating as we look around a high-contrast scene like this, adjusting sensitivity as we go, but a digital camera really can't do this without the help of HDR; at least not yet.
Sony NEX-5
Handheld Twilight.
A cool Scene mode called Handheld twilight (HHT) does a trick that some of Sony's backlit-sensor cameras introduced last year. No, this sensor is not backlit, but it will fire off six shots at a hand-holdable shutter speed and combine them into one usable image that you'd never get without using a higher ISO. But don't think that you're going to sneak into your kids' bedroom to get a cute shot of them sleeping, because the relatively loud -- if cool-sounding -- shutter has to fire six times, a salvo that's sure to wake most people.
Similar to HHT is Anti-motion blur mode, which biases exposure toward a fast shutter speed and also fires off several images that it combines into one to eliminate motion from camera movement, which is amplified by use of telephoto lenses. Again, this makes quite a bit of noise, and those nearby might wonder what you're doing. (Just tell them they wouldn't understand.)
Easy Panoramas.
I'm also impressed that Sony managed to put their Sweep Panorama mode into the NEX series. The Sony NEX5 Alpha and NEX-3 have to fire much larger shutters than their Cyber-shot counterparts, then combine the images into one shot.
It does not work as well as Sony's Intelligent Panorama mode, which analyzes the scene to find moving objects and put only one image of said objects into the final panorama. For example, a car traveling through the scene might appear more than once as the camera sweeps across a scene, but intelligent Panorama would delete the multiple images from the scene when possible, leaving only one image of the car. As I swept across a street scene, all the buildings were fine, but cars moving with the pan had an extra tail and nose added to their length, while cars moving counter my motion were shrunk to just a noise and tail, with no middle. Not the best, but since most folks shoot panoramas of relatively static scenes, it'll work well enough in most common situations, where objects are distant and not moving rapidly. Note, too, that all of the Sweep Panorama images I made with our pre-release camera were somewhat soft, with a touch of motion blur. The top shot above, taken in bright sunlight at 1/250 second still shows motion blur, but it could be that Sony has some work to do yet. Later, when we reshot the tree scene, the shutter speed was slower, but we just let the Sony NEX-5 keep firing, and we got a much sharper result.
Sony NEX5
Low light.
I like that they included the flash with the Sony NEX cameras, rather than made it an aftermarket purchase, as Olympus did with its first two Pens. I also like that you can take it off. It's absolutely tiny, rests right above the lens, and jacks in via a special connector concealed beneath a plastic door. A thumbscrew tightens the flash in place, and on the Alpha NEX-5 Sony at least, the flap marries neatly with the flash's thumbscrew door. As I say, it rests flat above the lens, but must be flipped up to activate. The camera senses when it's flipped up and fires in the selected mode.
Regardless, what's better than a cute little flash that comes off with ease? A camera that doesn't usually need a flash. And that's what you get with the Sony NEX-5. As if it weren't enough to have a camera that d
oes Sony's cool Handheld Twilight mode, Sony made some strides that improve its high-ISO performance noticeably. It's no Nikon D3x, but it still does better than a good share of the market in our low light tests.
I really enjoyed shooting in low light with the Alpha NEX5 Sony, with only Auto ISO enabled. It's not going to perform miracles, but it does get you indoor shots that you'd never get otherwise.
NEX-5
Optics. To my surprise, I'm more drawn to the 18-55mm lens than to the 16mm. The opposite is true with the Micro Four Thirds camera, where the 17mm is pretty much all I use for the shooting I do. Since the 17mm is equivalent to a 34mm lens, it's natural I'd prefer that over the 24mm equivalent found in the 16mm. Though I used to love my 24mm on my old film cameras, the way the lens distorts faces at the edges makes for unappealing family photos. The good news is that it really grabs the scene, great for landscapes. The bad news is that you have to step forward quite a bit more than you thought you would to fill the frame with your subject, and the result is often distorted, unnatural people pictures.
A rather large 18-200mm is also planned for relatively early release, but an adapter that works with other Alpha-mount lenses will also be shipping. We used a sample of the adapter for many of our laboratory shots. The only drawback is that even these Alpha lenses must be focused manually, as they're not designed to work well enough with the NEX's contrast-detect autofocus system, according to Sony representatives.
With the 18-55mm, I like the way it feels to have just lens, grip, and LCD to frame my images: the bare necessities. It feels like I'm getting away with something.
Still, if you're looking for a wide-angle view, the 16mm is wide and flat, and you can make it even wider with the two accessory lenses that will also be available. The VCL-ECU1 is an Ultra Wide Converter that makes the 16mm into a 12mm lens thanks to its 0.75x magnification. The Fisheye Converter will give a very wide view with all the distortion you expect from a fisheye lens.
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