Nex 5 which lens

The distortion is complex, with most of it occurring near the corners. It's unusual to have pincushion distortion in a wide-angle prime lens, though, as most have barrel distortion. Chromatic Aberration and Corner Sharpness mm: Moderately high chromatic aberration at wide-angle; much lower levels at full telephoto. The lens produced some soft corners at telephoto. Chromatic Aberration.

Chromatic aberration in the corners with the NEX-5's mm kit lens at wide-angle 18mm is moderate in terms of the number of pixels, but quite bright, so the effect is noticeable.

At full telephoto 55mm , C. Color fringing gradually reduces in brightness and width as it approaches the center of the image, where it is low at wide-angle and almost nonexistent at telephoto. Corner Softness. The Sony NEX-5's mm kit lens produced some soft corners in a few shots. At full wide-angle the corners had only minor blurring, with the top right corner being the softest; really nothing to be concerned about. The center of the image was very sharp with good contrast.

At full telephoto, the top corners were quite soft and suffered from a loss of contrast, but the softness didn't extend very far into the frame. The bottom corners were better, and the center was fairly sharp. An average performance overall for a kit lens here.

Note that the lens was "wide-open" for these shots, and corner sharpness generally improves when a lens is "stopped-down" a couple of f-stops below full aperture. Some very minor chromatic aberration is visible in the center as well.

Though the extreme blurring didn't extend very far into the frame, there was some softness across much of the frame, except near the center which was fairly sharp and contrasty. There also appears to be a fair bit of vignetting in the corners, as they are noticeably darker than the center.

Keep in mind these shots were taken with the lens wide-open, and that corner sharpness and vignetting improve when the lens is stopped-down a bit. Note that these results are very similar to the preproduction version of the lens, and are well within the realm of normal sample variation. The images above were taken from our standardized test shots. Navigate Review Jump to review page Autofocus isn't possible when using A-mount lenses on an E-mount camera, and nor is SteadyShot stabilization.

On the positive side, iris information is translated between lens and body, and all Sony's Alpha lenses are compatible. The adapter also has a detachable tripod mount, for use with larger lenses.

For all the foment on the 'net over the original editorial samples not representing final production quality, we saw very little difference in the two versions we received. In our "VFAB" images shot with the lens wide open , we actually felt that the original did a slightly better job overall: The center of the frame was equally sharp with both versions, and both were rather soft in the corners.

The production sample perhaps did a bit better some of the extreme corners, but was noticeably softer across a large portion of the frame, starting just a short ways out from the center.

Note that geometric distortion results are identical to the preproduction version. Buy the Sony NEX Panasonic G95 Review. Top Sony Cameras Sony A Sony A Sony A7 II. Sony A7 III. Sony A7R IV. Sony A7S II. Sony A9. Sony A9 II. Sony RX10 IV. Sony RX IV. Sony RX V. Pocket professional. Pulling off this minor miracle took some clever innovations in glass, silicon and software code.

This product has been discontinued. Please scroll down for accessories and other options. TaxCode Mapping. Javascript is disabled on your browser. However, there have been significant advances since the R1 was launched in late and the NEX-5 is quite a different beast — although its target market remains surprisingly similar. Like most other manufacturers of interchangeable-lens compact ILC digicams, Sony sees the main buyers of its NEX-series products as existing digicam users who only want the quality improvements a larger sensor can provide.

In our opinion, the interface is disappointing. The mode dial on the top panel of the H55 is missing on the NEX-5 because shooting modes can only be selected via the Menu button. The grip is finely textured and the texturing runs around onto the side panel.

The front of the camera is dominated by the lens mount, which extends slightly above and below the panel.

When the zoom lens is attached, it almost overwhelms the rest of the camera, making it look like a lens with a camera stuck on the back. Front view of the NEX-5 body without a lens. The body cap has been removed to show the APS-C sized sensor. The new E-mount has been designed specifically for the mirrorless NEX-series bodies and is totally electronic. The system consists of an anti-static coating on the low-pass filter that overlays the sensor chip plus high-speed vibrating to shake off accumulated dust particles.

There were a couple of instances when dust settled on the sensor while lenses were being changed and subsequently showed up in shots. But otherwise we had no sensor-related problems. A sensor for the optional remote controller is located near the upper edge of the grip. The only other control on the front panel is the lens-release button, which lies close to the lower edge on the grip side of the lens.

The top panel curves gently downwards towards the front and back of the camera body. A notch at the front of the plastic cover to this terminal enables it to be raised to reveal a socket for attaching the flash.

No viewfinder is currently offered. The terminal cover is flimsy compared with the rest of the camera. The only other features on the top panel are three tiny speaker holes just right of the R microphone. Most of the rear panel is covered by the 3-inch monitor, an attractive screen with a resolution of , dots, which is, sadly, quite prone to finger-marking.

Twin hinges on the camera body and rear of the screen allow it to be tilted upwards through 80 degrees or down through 45 degrees to support low or over-the-head shooting. The operation of these keys is explained in the Controls section below. Tucked in behind two small plastic hatches on the lens side of the camera body are two interface ports.

A separate cable not supplied is required to utilise this port. Between the two ports and exactly half-way down from the top panel is one of the strap lugs. The other lies roughly a third of the way down the opposite side panel. A combined battery and card compartment is located inside the grip and accessed via a locking panel in the base of the camera.

The only other item on the base plate is a metal-lined tripod socket, which is located on the optical axis of the lens, mid-way across the depth of the panel. The electronically-controlled, vertical-traverse, focal-plane shutter in the NEX-5 operates with an audible double-click.

A Bulb setting is also provided in the Manual Exposure mode. It keeps the shutter open for as long as the button is held down and works with most settings, except Smile Shutter and Auto HDR. Bulb exposures are best done with the optional remote commander. In each of these modes, the camera defaults to automatic focus and exposure as it records a burst of shots and processes them to achieve the specified end result. This lets you adjust the degree of unsharpness in the background.

It only works with E-series lenses. Simply changing the ISO setting requires at least four button presses, while formatting a memory card requires you to locate the Memory Card Tool page in the Setup sub-menu and can involve up to 34 button presses! And, having provided them, why make them so frustrating to use? Like the arrow pads in other cameras, the vertical and horizontal edges of the control wheel access specific sub-menus. In shooting mode, these include clockwise from top Display Contents, Flash mode, exposure compensation and drive mode.

For playback, only the vertical directions are used, the top handling Display Contents and the bottom Image Index. The horizontal directions toggle between one displayed image and the next. It can be difficult to keep track of their operations if you swap from one shooting mode to another and you often require the on-screen messages to confirm what to do next. The Nikon Z9 is the company's first camera to feature a stacked CMOS sensor, which brings a raft of new features, including blazing speed and autofocus performance to the Z lineup.

Click through for our detailed first impressions of Nikon's latest professional ILC. The Sony a7 IV is the fourth generation of the company's core a7 full-frame mirrorless camera model, and it's the most advanced yet. Click through for an in-depth look at Sony's latest full-frame mirrorless ILC. Nik Silver Efex Pro 3, one of the standout components of Nik Collection 4, is a black-and-white conversion tool that goes far further than the grayscale or black-and-white tools built into all-in-one photo apps.

For some users, this app alone might be worth the cost of the whole collection — find out for yourself in our review. The Nikon Z mm F2. Get all the details in our full review. These capable cameras should be solid and well-built, have both speed and focus for capturing fast action and offer professional-level image quality. Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform.

In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media. If you're looking for the perfect drone for yourself, or to gift someone special, we've gone through all of the options and selected our favorites.

We looked at cameras with selfie-friendly screens, wide-angle lenses, microphone inputs and great video quality, and selected the best. Submit a News Tip! Reading mode: Light Dark. Login Register. Best cameras and lenses. Started Jul 17, Discussions. Forum Threaded view. Jul 17, Hello everyone. I would greatly appreciate if someone can guide me: I bought in a yard sale a Sony Nex-5 that came with a Minolta MD 50mm Thanks in advance.