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Reviews (45)
25 June 2012
Tiny powerhouse really is the camera of the future. Best video mode ever.
3 of 3 found this helpful I'm a pro and the NEX-5n is the first time my primary camera has not been a DSLR.
Sony has created a very robust camera in the NEX-5n. It is capable of just about every photographic trick you could wish for... and I'd love to discuss that. However the 5n is an even more significant achievement for video enthusiasts - here's why...
The NEX-5n is one of the first large-sensor cameras to completely unlock the video mode. This means you can dial in any setting you please, including really low shutter speeds. The creative potential is unlimited, with 1080/60p and 1080/24p video modes. The camera is capable of fast-focusing while recording, and can even focus-track moving subjects that you select on the touch-screen. Really amazing capability that until last year cost thousands of dollars to access, and not even at this quality. The quality of the video itself can only be described as 'perfect'.
OK, so video is a hude deal, but so is the camera system. Thanks to Sony's foresight, there are alpha-series lens adapters, including a unit that has a translucent mirror, for phase-detect focusing with alpha lenses. This is a huge deal because it adds dozens of amazing lenses to the system, all of which can also be used for video.
As for still photography... the camera is a dream to use. It is tiny, it is fast, it takes 'perfect' pictures 99.9% of the time - it's really on the photographer to frame the picture well, because the camera is going to capture exactly that, and do it well. 3D panoramas, HDR photos, handheld low-light, smile detect, it's all there in an impossibly tiny camera.
27 January 2008
Cheap, sharp, bright, but limited
2 of 2 found this helpful Canon's 50mm 1.8 is their cheapest prime lens, but inside is some decent glass. This is a great lens for portrature.
I've used the 50/1.8 for years because the simple design of the optics produces great pictures. Images are sharp, distortion-free, and the lens is almost immune to flare. It is in fact one of Canon's sharpest lenses when stopped down past f/2.8.
The only problem with the 50/1.8 is that it is so cheaply built, it lacks even the most basic features. The focusing ring is tiny, and flimsy. It is impossible to manual-focus this lens with any accuracy, it needs to be auto focused.
Another complaint about this lens is that the aperture mechanism has only 5 blades. This results in the out-of-focus areas looking a bit harsher than they would with a better lens (an effect called "bokeh"). This isn't an issue when the lens is stopped down enough to keep everything in focus, but for some styles, it just doesn't have that "expensive lens" look in the blurry areas.
Those limititions should not stop anyone from buying the Canon 50/1.8 because at the price there is nothing like it. If you've only used zoom lenses, try this one out, it will help you be more creative.
08 January 2008
Canon scores with their EF-S Ultra-Wide 10-22mm lens
7 of 7 found this helpful I've used more ultra-wide lenses than most people, starting in 2001 with Tamron's 14mm f/2.8 prime, and continuing with Sigma's 12-24mm (full frame) and Nikon's 12-24mm (DX crop). Since then I've also owned Tamron's 11-18mm and Sigma's 10-20mm (for EF-S and DX cropped sensors), and finally my most recent ultra-wide has been the Cnaon EF-S 10-22... the subject of this review.
The EF-S 10-22 is especially noteably in that it has almost zero distortion (barrel or pincushion) throughout the zoom range, and around 17mm it is essentially perfect. No other lens performs this well, and for architecture Canon's ultra-wide is the absolute top choice for this reason. Unlike some other Canon lenses, the 10-22 is very competitively priced compared to the competition, usually just a hundred dollears or so more expensive, and for the money you get a better lens, with more zoom range, better build quality, and better performance.
Colors are rendered true, and contrast is very high. Focusing is fast and silent, plus this lens takes 77mm filters and never vignettes even at 10mm with a full-sized filter in front.
When paired with a Digital Rebel, a 30D or a 40D, this is the best and most cost effective solution for ultra-wide shooting available. Nikon's 12-24mm lens costs quite a bit more and is not as good quality, especially in terms of distortion characteristics.
Considering that the next best option for this wide a view is a Canon 5D with a 17-40mm L (and you still lose 1mm worth of width), A Rebel or D series with this lens is quite a bargain for the performance you get... basically half the price. Canon has really scored a home-run with this lens.