Sony a5000

      Photo Review 8.5
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      In summary

      For an entry-level interchangeable-lens camera, the α5000 has a lot of advantages; it’s small and light, takes nice-looking photos and movies and comes with a reasonably competent lens. On the downside, the lack of a viewfinder is a big disadvantage for anyone who shoots still pictures or movie clips in outdoor environments. Point-and-guess shooting is imposed by the camera in such situations.

      The issue is complicated by a lack of a hot-shoe, which means you can’t fit a viewfinder, even if one was available. Nor can you fit an accessory flash when the built-in flash isn’t powerful enough.

      For photographers who have stepped up from point-and-press digicams or camera-phones these issues may present few problems. But for anyone who wants to develop their photography into a moderately serious pastime, they represent can impediments to progress.

      Price-wise the α5000 isn’t really competitive with an entry-level DSLR from one of the major manufacturers, all of which include viewfinders and hot shoes. But, if having a small, lightweight camera is the main priority, sacrificing these advantages may be the only option if you want the largest sensor for the body size.

      Lens options for E-mount cameras remain relatively limited. Sony currently offers eight prime (single focal length) and 10 zoom lenses. The range is not as comprehensive as the M4/3 line-up but includes both affordable and high-performance lenses.

       

      Full review

      When it was announced in January, the α5000 was claimed as Sony’s smallest and lightest interchangeable lens camera to date and while the NEX brand name may be gone, the new camera retains the characteristic styling associated with it. Designed to use Sony E-mount lenses, this camera also features an APS-C image sensor with 20.1-megapixel effective resolution and a tilting monitor that flips up for taking ‘selfies’.

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      The Sony α5000, shown with the 16-50mm kit lens offered with the camera body. (Source: Sony.)

      The camera is supplied with the 16-50mm f/3.5-5.6 PZ OSS lens, which was introduced with the NEX-6  camera in September 2012.  

      Who’s it for?
       Effectively a replacement for the NEX-3N, the α5000 is targeted at entry-level photographers who want the advantages a large-sensor, interchangeable-lens camera can provide ““ but in a compact format. This is the main advantage the camera has over similarly priced and specified DSLRs from other manufacturers. The table below shows the main competitors for the α5000.

       

      Sony α5000

      Canon EOS 1200D

      Nikon D3300  

      Effective resolution

      20.1 megapixels

      18 megapixels

      24.2  megapixels

      Sensitivity range

      ISO 100-16000

      ISO 100-6400 (extension to ISO 12800 available)

      ISO 100-12800 (extension to ISO 25600 available)

      Viewfinder

      None

      Eye-level pentamirror; 95% coverage  

      Eye-level pentamirror; 95% coverage  

      Monitor

      Tilting 3-inch; 460,800 dots

      Fixed 3-inch; 460,000 dots

      Fixed 3-inch; 921,000 dots

      AF system

      25 point contrast-detection

      TTL-CT-SIR,  9 AF points

      Nikon Multi-CAM 1000, 11 AF points; contrast-detect AF anywhere in frame

      Shutter speeds

      30-1/4000 sec.

      30-1/4000 sec.

      30-1/4000 sec.

      Metering

      1200-zone evaluative

      TTL full aperture metering with 63-zone SPC

      420-pixel RGB sensor

      Max burst speed

      2.5 fps

      3 fps

       5 fps

      Buffer capacity (JPEG)

      15 frames

      Approx. 69 frames

      Approx. 6 frames

      Video format

      AVCHD plus MP4

      MOV / H.264

      MOV / H.264/MPEG-4 Advanced Video Coding

      Audio

      Built-in stereo microphone

      Built-in monaural microphone

      Built-in monaural or external stereo microphone; sensitivity adjustable

      Flash

      GN 4.0 (m/ISO 100)

      GN approx 9.2 (m/ISO 100)

      GN approx 12 (m/ISO 100)

      Wi-Fi & NFC Connectivity

      Yes

      No

      No

      Battery capacity (CIPA)

      Approx. 420 shots/charge

      500 shots/charge

      700 shots/charge

      Body dimensions (wxhxd)

      Approx. 109.6 x 62.8 x 35.7 mm

      130 x 100 x 78  mm

      Approx. 124 x 98 x 75.5 mm

      Body weight (incl. battery & card)

      Approx. 269 grams

      Approx. 480 grams

      Approx. 460 grams

      Typical selling price with lens (AU$)

      $590

      $500

      $650

      The user interface on the α5000 has been designed primarily for snapshooters and most ‘serious’ controls are buried in the camera’s menu. Menu diving is still required to change most camera settings, which may not trouble the target market but will frustrate serious enthusiasts.

      There’s no viewfinder or mode dial; instead buttons can provide access to key functions. The lack of hot shoe or accessory port further limits more advanced shooting, although the built-in flash will be handy for most potential users.

      The inclusion of Wi-Fi and NFC capabilities make it easy for connected photographers to share images and videos, while the flip-up screen adds value for those who enjoy taking self-portraits.   (The Soft Skin effect mode can help to make these as attractive as possible.)

      Other convenient additions include Auto Object Framing function, Full HD movie  capability and the easy availability of Picture Effects (13 of them) that can be applied to photos or movies. Packaged in a body that weighs only 269 grams with battery and card ““or 375 grams when the kit lens is included ““ and at AU$699 it’s an attractive option.

      Build and Ergonomics
       Physically almost identical to the NEX-3N, α5000’s body is made mainly from polycarbonate plastic, which has the advantage of both light weight and considerable toughness. It’s also cheaper than metal. The new camera is also offered with the same 16-50mm f/3.5-5.6 power zoom lens.

      Like its NEX predecessors, the α5000 fits comfortably into one hand and has a reasonably generous, textured grip. The control layout is similar, although not identical on the top and rear panels.  

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      Front view of the Sony α5000, shown without a lens. The monitor has been tilted up for taking ‘selfies’. (Source: Sony.)
       The top panel retains the same simple configuration as the NEX-3N, although the power switch has been integrated into the shutter button and zoom lever. Behind it, the movie button sits on the sloping junction between the top and rear panels. The flash pop-up button is located at the far left end of the panel, facing the rear.  

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      The top panel of the α5000 without a lens. (Source: Sony.)

      Button functions have been clarified on the rear panel with the addition of a label to the menu button and icons to the relocated playback button as well as the delete button, which also accesses context-sensitive shooting tips.  A control dial replaces the arrow pad but continues to provide access to the drive, display, ISO and exposure compensation/Photo Creativity functions, with its central button selecting the shooting mode and locking in adjustments.

      Forcing the arrow pad to handle so many settings means a lot of toggling between the menu and arrow pad buttons is required. We feel this could deter novice users from exploring many of the camera’s functions.

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       The rear panel of the α5000 with the monitor in its ‘resting’ position. (Source: Sony.)

      The LCD screen is hinged at the top and can be flipped up through 90 degrees for waist-level shooting or 180 degrees to face forwards for self-portraiture. It can’t be turned downwards for over-the-head shots, although you can turn the camera upside down and hold it above your head, if necessary.
       

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      This illustration shows the range of adjustments available for the LCD screen. (Source: Sony.)

      Unfortunately, touch controls aren’t supported and the screen resolution is only 460,800 dots, which is relatively low. Although its brightness is adjustable, expect a lot of point-and-guess shooting in bright, sunny conditions. The lack of a viewfinder could be a deal-breaker for photographers who want a camera to use outdoors in summer.

      Separate compartments are provided for the battery and card. The former is in the ‘normal’ place behind the grip and accessed via a cover in the base plate. The α5000’s memory card slot sits behind a flap on the left hand side of the camera and is located between the USB and mini HDMI ports.

      The NP-FW50 battery is charged through the USB port either via a mains connection or by connecting the camera via a USB cable to a computer or similar power source. This port also accepts the VPR1 cable remote control.

      The battery is CIPA rated for 420 shots/charge and the camera can display an accurate status monitor on its LCD screen. Both Memory Stick Duo and SD cards in their various varieties can fit into the single card slot. The metal-lined tripod socket is located on the base plate in line with the optical axis of the lens.

      Lugs for the supplied neck strap are located on each side panel. They’re not at the same level or in equivalent positions with respect to the central axis of the camera body, although this has little influence on the camera’s balance when it’s carried around the neck.

      Sensor and Image Processing
       The sensor in the α5000 is the same 23.2 x 15.4mm “Exmor” APS HD CMOS chip as used in Sony’s SLT-A58 and ILCE-3000 cameras. It’s been covered in our review of the ILCE-3000 (INSERT LINK).

      With an effective resolution of 20.1 megapixels, it is partnered with an updated BIONZ X, which supports a sensitivity range from ISO 100 to ISO16000. However, it can only provide a maximum continuous shooting speed is 2.5 frames/second (fps) and the memory buffer is limited to 15 high-resolution JPEGs or five RAW+JPEG pairs per burst.

      Controls
       Pressing the central button on the control dial takes you straight to the shooting menu where you can choose from nine shooting modes, which include two fully automatic settings (‘intelligent’ and ‘superior’) or access the P, A, S and M modes. The remaining options are the movie and sweep panorama  settings plus the SCN setting, which contains the scene pre-sets.

      The ‘intelligent’ auto setting includes scene recognition, allows the camera to identify when it is on a tripod and detects motion in a scene. For the latter, it will  increase the ISO sensitivity and use a faster shutter speed to ‘stop’ the movement. The ‘superior’ auto mode records a burst of shots and combines them to produce a single image with less noise and a wider dynamic range.

      Nine pre-sets are available in the SCN sub-menu: portrait, sports action, macro, landscape, sunset, night scene, hand-held twilight, night portrait and anti motion blur. With each selection, a brief explanation of the setting is displayed on the monitor screen.

      For all other adjustments, you must press the menu button, which opens a six section screen covering camera settings, custom settings, wireless, application, playback and setup functions. There are five pages of camera settings, which include image size and quality, aspect ratio, movie file format and record settings, focus and flash controls, ISO and metering settings, white balance, dynamic range, Creative Style and Picture Effect settings, noise reduction, smile and face detection, auto object framing, stabilisation, colour space, audio recording and wind filter settings and a list of shooting tips that can be displayed.

      Drive modes, ISO and exposure compensation are usually quicker to access via the directional settings on the control dial. The first includes the self-timer, auto bracketing  (exposure, white balance and dynamic range optimiser) and continuous shooting options.

      In the two auto modes, pressing the down button on the  control dial accesses the Photo Creativity modes, which include slider controls for adjusting background defocusing (depth of field), brightness (exposure), colour (white balance) and vividness (saturation).   The Picture Effect settings are also accessible here.

      In the two auto modes they include Toy camera, Pop colour, Posterisation (colour and B/W),   Retro photo, Soft high key, Partial colour (red, green, blue, yellow) and High Contrast mono. In the P, A, S and M modes you can also access Soft focus, HDR painting, Rich tone mono, Miniature, Watercolour and Illustration settings. All are JPEG only.

      Sony’s Sweep Panorama mode is also available, offering both vertical and horizontal formats, with a maximum resolution of 11,520 x 1080 pixels. Up to 4x digital zoom is available when the camera’s zoom lever is used to adjust focal length. Both these functions are also JPEG only.

      Each of the arrow pad ‘buttons’ can be customised to access one frequently-used function, chosen from features including aspect ratio, quality, focusing, Wi-Fi, shooting and drive mode settings. Alternatively, you can cancel the default settings by selecting the ‘not set’ option.

      Video capabilities are the same as the ILCE-3000’s. (INSERT LINK) Movies can be recorded in either AVCHD or MP4 format, with the former supporting Full HD (1080 50/60i or 25/24p, depending on region) and the latter offering a choice between 440×1080 at 12 Mbit/second or VGA at 3 Mbit/second. Both modes allow the same Picture Effects to be used as the auto modes for movie recording.

      The α5000 includes a wind noise reduction filter and zebra pattern generator for judging exposure levels in movies. Eight threshold levels are provided for the latter plus an off setting.

      Focusing
       Unlike Sony’s higher-featured cameras, the α5000 relies on a contrast-detection autofocusing system, based upon 25 detection points. Users can choose between 25-area , centre point or a ‘flexible’ spot with three sizes, which can be moved around the array. But you really need a touch screen to take advantage of this setting.

      As it is, each time you want to move the AF spot around the screen you must select the Flexible Spot setting from the focus area options on page 3 of the Camera Settings sub-menu. The arrow pad is used to move the AF area around the screen. Once the AF area has been moved, the camera defaults to the normal arrow pad settings.

      AF modes include a focus lock, which can also access tracking AF. The normal single-shot (AF-S), continuous (AF-C), direct manual focus (DMF) and manual focusing settings are available. Peaking displays can be activated to aid manual focusing with a choice of red, yellow or white to highlight in-focus areas.

      Wi-Fi and NFC
       Built-in Wi-Fi and NFC give the α5000 its main advantage over its competitors (aside from size and weight). Users with an NFC-capable phone or tablet can establish a connection by simply putting the camera and smart device together.   The PlayMemories mobile (PMM) app will launch automatically.

      If your smart device isn’t NFC-enabled, you must install the PlayMemories mobile app by downloading it from Sony’s  support page at http://www.sony.net/pmm/. When you launch PlayMemories Mobile, the device’s screen will display the camera’s model name. Selecting this reveals a password than must be keyed into the smart device to complete the connection.

      Transferring images from the camera to the smart device is straightforward and you can select images for transfer from either device’s screen. PMM supports both single and multiple image transfer and you can choose between selecting images via the camera’s control dial or sending all images or movies shot on a specified date.

      Images can be sent at three different sizes: original, 2M or VGA. RAW images are converted to JPEG format when they are sent. Only MP4 movies can be transferred.

      The Applications section of the menu includes a Smart Remote Embedded application then enables the smart device to be used as a remote controller for the camera. Functions supported include triggering the shutter, reviewing shots and adjusting the exposure compensation and self-timer settings. In the P, A, S and M modes you can also adjust aperture, shutter speed, ISO and white balance settings and select the focus point by tapping on the smart device’s screen.

      If you want to upload images to social networks, you must install the free Direct Upload app. Aside from Sony’s PlayMemories Online service,   Facebook and Flickr  were the only services supported when we reviewed the camera.

      Playback and Software
       Playback options are pretty standard with the usual single image display (with or without shooting information RGB histogram & highlight/shadow warning), 6 or 12-frame index view and magnified displays with between 7.6x and 15.1x enlargement, depending on the original image size. Auto rotation of vertical shots is supported along with protection, deletion and DPOF   tagging for individual shots.

      Slideshows can also be played from the memory card and movie clips can be played with their soundtracks. Audio volume adjustment is also supported.

      The supplied software includes Sony’s PlayMemories Home, which replaces the Picture Motion Browser supplied with previous cameras.   It combines an image importer/organiser with basic editing functions for JPEGs and allows users to burn files to optical disks or upload them to network services.

      The supplied raw file converter is Sony’s Image Data Converter. which is pretty basic but enables users to make minor adjustments to brightness and colour and save files in JPEG or TIFF format. Both applications are available for Windows and Mac operating systems. Third-party support includes the latest version of Adobe Camera Raw.

      Performance
      Image quality with the supplied 16-50mm lens (INSERT LINK) was somewhat mixed, as shown in our review of the lens. Even at the optimum focal length and aperture settings, JPEGs straight out of the camera with the default standard Creative Style were a little soft and benefited from a little unsharp masking post-capture.

      Colour reproduction was natural looking, although Imatest showed slightly elevated saturation, particularly in warmer hues and purplish blues. The Dynamic Range Optimiser  reduced the incidence of blown-out highlights and blocked-up shadows in JPEGs, while raw files taken at the same time appeared to have sufficient bit depth to cover the typical brightness range of a sunny winter’s day.

      Imatest showed the camera plus 16-50mm combination to be capable of meeting the expected resolution for a 20-megapixel sensor; but only just and only at ISO 100 for ARW.RAW files. (The best JPEGs were slightly below expectations.) Each increase in sensitivity was associated with a progressive decline in resolution, as shown in the graph of our Imatest results, below.

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       Resolution declined sharply when the digital zoom was used. This was also associated with a drop in contrast and decline in saturation, particularly in bright outdoor lighting leading to images that appeared both soft and rather flat.

      Long exposures at night retained a decent amount of detail, although exposures longer than 15 seconds had a slightly blue cast, while shorter exposures were yellowish. Short exposures in low light levels contained a fair amount of detail right up to ISO 6400. Contrast and sharpness were significantly reduced at the highest ISO settings.

      The built-in flash wasn’t powerful enough to produce correct exposures at the lowest ISO settings with a 50mm focal length. However, between ISO 400 and ISO 3200 shots received adequate exposure. Above this point, the camera was unable to compensate by adjusting exposures and progressive over-exposure occurred. Shots taken at the two highest sensitivity settings were essentially unusable.

      White balance performance was similar to the results we have obtained from previous Sony cameras. A slight warm cast remained in shots taken under both incandescent, while those taken with fluorescent lighting had traces of green. Both presets over-corrected slightly, the various fluorescent lighting settings imparting slightly different colour casts. Manual measurement produced neutral colour rendition with each lighting type.

      Autofocusing with the single AF mode was fast and silent in bright conditions. However, the continuous AF mode was unable to keep pace with moderately-paced moving subjects. The single AF mode usually took a second or two to find focus in low light levels.

      Metering was generally reliable, regardless of the lighting conditions and metering pattern used. However, having to use the monitor screen for framing shots can make checking exposure levels difficult in daylight. The camera includes a monitor brightness adjustment in its setup menu, with a ‘sunshine’ setting to cope with these conditions. But it doesn’t make the screen significantly easier to use.

      Video quality was generally good, although we found a few artefacts in some of the AVCHD clips. An example is reproduced below with a red circle around the affected area.

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       The stereo soundtracks were clear enough for amateur use and a filter is available to reduce wind noise when shooting out-of-doors. It doesn’t eliminate wind noise completely and isn’t effective in very windy conditions.

      The image quality in movie clips was also good enough for applications like recording family activities, holidays and the like for displaying on home TV sets and video blogging. Colours were accurately recorded and saturation was modest enough to appear natural.

      The Wi-Fi and NFC functions worked as specified and it was easy to connect the camera to an NFC-capable Nexus 7 tablet. But connectivity functions are basic and we couldn’t access the GPS function in a smart device to geotag image files. Nor was it possible to upload shots directly to social networks as far as we could determine.

      Still images are recorded by touching an icon displayed on the smart device’s screen, which can be moved to shift focus. Provided the camera was is one of the P/A/S/M modes, it was possible to adjust the aperture, shutter speed, ISO and white balance for shooting stills and check shot composition using the smart device’s screen.

      Transferring JPEG images to the smart device was easy ““ but took up to 10 seconds if they were at the original file size. There’s an option to reduce file sizes to 2-megapixel or VGA size for speedier transmissions.

      Conclusion
       For an entry-level interchangeable-lens camera, the α5000 has a lot of advantages; it’s small and light, takes nice-looking photos and movies and comes with a reasonably competent lens. On the downside, the lack of a viewfinder is a big disadvantage for anyone who shoots still pictures or movie clips in outdoor environments. Point-and-guess shooting is imposed by the camera in such situations.

      The issue is complicated by a lack of a hot-shoe, which means you can’t fit a viewfinder, even if one was available. Nor can you fit an accessory flash when the built-in flash isn’t powerful enough.

      For photographers who have stepped up from point-and-press digicams or camera-phones these issues may present few problems. But for anyone who wants to develop their photography into a moderately serious pastime, they represent can impediments to progress.

      Price-wise the α5000 isn’t really competitive with an entry-level DSLR from one of the major manufacturers, all of which include viewfinders and hot shoes. But, if having a small, lightweight camera is the main priority, sacrificing these advantages may be the only option if you want the largest sensor for the body size.

      Lens options for E-mount cameras remain relatively limited. Sony currently offers eight prime (single focal length) and 10 zoom lenses. The range is not as comprehensive as the M4/3 line-up but includes both affordable and high-performance lenses.

       

      SPECS

       Image sensor: APS-C type (23.2 x 15.4mm), “Exmor” APS HD CMOS sensor with 20.4 million photosites (20.1 megapixels effective)
       Image processor: BIONZ X  
       Lens mount: Sony E-mount  
       Focal length crop factor: 1.5x
       Digital zoom: Approx. 4x
       Image formats: Stills ““ ARW.RAW (2.3 format), JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant); Movies ““ AVCHD plus MP4 (AVC/H.264)
       Image Sizes: Stills ““ 3:2 aspect: 5456 x 3632, 3872 x 2576, 2736 x 1824; 16:9 aspect: 5456 x 3064,     3872 x 2176, 2736 x 1536; Movies:   AVCHD – 1920 x 1080 at 50i and 25p (24M or 17M); MP4 – 1440 x 1080 and VGA at 25 fps
       Image Stabilisation: Digital Steady Shot
       Dust removal: Charge protection coating on Optical Filter
       Shutter speed range: Still images:1/4000 to 30 sec, Bulb, Movies: 1/4000 to 1/4 (1/3 steps) up to 1/50 in AUTO mode (up to 1/25 in Auto slow shutter mode); flash synch at 1/160 sec.
       Exposure Compensation: Still images: +/- 3.0EV (1/3EV steps), Movies: +/- 2.0EV (1/3EV steps)
       Exposure bracketing: 3 frames in 1/3 EV, 2/3 EV, 1.0EV, 2.0EV, 3.0EV  increments
       Other bracketing options: White Balance, DRO bracketing
       Self-timer: 10/2 sec delay selectable, 10 sec delay 3/5 exposures selectable
       Focus system: 25 point contrast-detection AF with focus lock, built-in AF illuminator  
       Focus modes: AF-S (Single-shot AF), AF-C ( Continuous AF), DMF (Direct Manual Focus), Manual Focus
       Exposure metering:  1200-zone evaluative metering with  Multi-segment, Centre-weighted and Spot metering patterns
       Shooting modes: iAUTO, Superior Auto, Programmed AE (P), Aperture priority (A), Shutter-speed priority (S), Manual (M), Movie (Programmed AE (P) / Aperture priority (A) / Shutter-speed priority (S) / Manual (M) ), Sweep Panorama, Scene Selection
       Picture Effects: Posterisation (Colour or B/W), Pop Colour, Retro Photo, Partial Colour (R/G/B/Y), High Contrast Monochrome, Toy Camera (Normal/Cool/Warm/Green/Magenta), Soft High-key, Soft Focus (High/Mid/Low), HDR Painting (High/Mid/Low)
       Creative Style Modes: Standard, Vivid, Portrait, Landscape, Sunset, Black & White, Sepia; adjustments for Contrast (-3 to +3 steps), Saturation (-3 to +3 steps), Sharpness (-3 to +3 steps)
       Colour space options: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Colour
       ISO range: Auto, ISO 100-16000 equivalent (1/3 EV step with selectable lower and upper limits
       White balance: Auto, Sunny (5300K), Shadow (7500K), Cloudy (6000K), Incandescent (3000K), Fluorescent (4000K), Flash (5500K), Underwater; Custom, Color temperature setting (Approx. 2000-14000K)
       Flash: Built-in flash GN 4.0 (in meters at ISO 100)
       Flash modes: Flash off, Autoflash, Fill-flash, Slow Sync., Rear Sync.; Red-eye Reduction selectable
       Flash exposure adjustment: +/- EV in 1/3, 1/2, or 1EV increments
       Sequence shooting: Max. 2.5 shots/sec. for up to 5 RAW files or 15 Large/Fine JPEGs
       Storage Media: Single slot for Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick XC-HG Duo and SD/SDHC/SDXC memory cards; UHS-1 compliant
       Viewfinder: No
       LCD monitor: Tilting 3-inch wide type TFT LCD screen with 460,800 dots
       Playback functions: Single image (with or without shooting information RGB histogram & highlight/shadow warning), 12/30-frame Index View, Enlarged Display Mode (L: 15.1x, M: 10.7x, S: 7.6x, Panorama Standard: 19x, Panorama Wide: 29x), auto orientation (manual/off selectable), Slideshow
       Interface terminals: Multi/Micro USB Terminal, Mass-storage, MTP, PC remote, NFC;   HDMI micro connector (Type-D), BRAVIA Sync (link menu), PhotoTV HD, 4K Still Image PB
       Wi-Fi function: IEEE 802.11b/g/n; Live View, Rec View, Wireless Touch AF shutter (Control settings for aperture, shutter speed, exposure, ISO sensitivity, white balance and Drive Mode), Wireless Release, Power Off; Selectable from iAuto / ART / PASM (Live Bulb, Live Time)
       Power supply: NP-FW50 rechargeable lithium-ion battery; CIPA rated for approx. 420 shots/charge
       Dimensions (wxhxd): Approx. 109.6 x 62.8 x 35.7 mm(excluding protrusions)
       Weight: Approx. 210 grams (body only); 269 grams with battery and card

       

      TESTS

       Based on JPEG files captured with the supplied 16-50mm lens.

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       Based on ARW.RAW files processed with Adobe Camera Raw.

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      SAMPLES

       

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       Auto white balance with incandescent lighting.

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      Auto white balance with fluorescent lighting.

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       16mm focal length, ISO 100, 1/125 second at f/10.

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      50mm focal length, ISO 100, 1/125 second at f/9.  

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      4x digital zoom; 50mm focal length, ISO 100, 1/125 second at f/10.
       
       

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      30-second exposure at ISO 100; 26mm focal length at f/4.5.  

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      15-second exposure at ISO 400; 26mm focal length at f/4.5.

       

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      10-second exposure at ISO 1600; 26mm focal length at f/7.1.  

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      5-second exposure at ISO 6400; 26mm focal length at f/9.
       
       

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      5-second exposure at ISO 12800; 26mm focal length at f/14.  

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      3.2-second exposure at ISO 16000; 26mm focal length at f/11.  

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      Flash exposure at ISO 100; 50mm focal length, 1/60 second at f/5.6.
       
       

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      Flash exposure at ISO 400; 50mm focal length, 1/60 second at f/5.6.  

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      Flash exposure at ISO 1600; 50mm focal length, 1/60 second at f/5.6.  

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      Flash exposure at ISO 6400; 50mm focal length, 1/60 second at f/5.6.  

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      Flash exposure at ISO 12800; 50mm focal length, 1/80 second at f/5.6.
       
       

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      Flash exposure at ISO 16000; 50mm focal length, 1/100 second at f/6.3.

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      Sweep panorama, normal setting: 16mm focal length, ISO 100, 1/100 second at f/11.
       
       

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      Sweep panorama, wide setting: 16mm focal length, ISO 100, 1/100 second at f/9. Note the distortions produced by subject movement within the scene.
       
       

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      Stabilisation test; 16mm focal length, ISO 100, 1/5 second at f/3.5.
       

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      16mm focal length, ISO 3200, 1/80 second at f/4.5.
       
       

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      16mm focal length, ISO 16000, 1/125 second at f/7.1.
       
       

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      Still frame from AVCHD movie clip recorded with FX 50i / 24M setting.
       
       

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      Still frame from AVCHD movie clip recorded with FH 50i / 17M setting.
       
       

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      Still frame from AVCHD movie clip recorded with FX 25p / 24M setting.
       
       

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      Still frame from AVCHD movie clip recorded with FX 25p / 17M setting.
       
       

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      Still frame from MP4 movie clip recorded with 1440 x 1080 pixels. Note the vertical distortion.
       
       

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      Still frame from MP4 movie clip recorded with 640 x 480 pixels.
       
       Additional image samples can be found with our review of the 16-50mm f/3.5-5.6 PZ OSS lens.

       

      Rating

      RRP: AU$699; US$498 (with SELP1650 lens)

       

      • Build: 8.5
      • Ease of use: 8.0
      • Autofocusing: 8.5
      • Still image quality JPEG: 8.8
      • Still image quality  RAW: 8.8
      • Video quality: 8.5

       

       

      Buy