Sony NEX-5

APS-C AF digital mirrorless camera

Production details

Production details
Announced:May 2010
Production type:Mass production
System: Sony E APS-C (2010)

Specification

Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Sony E [18mm]
Imaging plane:23.5 × 15.6mm CMOS sensor
Resolution:4592 × 3056 - 14 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:287g
Dimensions:117.2x62.6x33.4mm

Manufacturer description

Now photographers can enjoy the superlative picture quality and shooting responses prized by DSLR users in two beautifully compact new cameras that are brilliantly easy to use.

Joining the α family, the NEX-5 and NEX-3 team DSLR-quality imaging with the convenience of interchangeable lenses in a sleek new design that slips easily into a jacket pocket or bag. In contrast with conventional DSLR models, the ‘mirrorless’ construction shrinks the thickness of both cameras to just 24.2mm (NEX-5) at their slimmest point. As a luxurious extra refinement, the NEX-5 features a tough yet light-weight magnesium body, making it the world’s smallest and lightest interchangeable lens digital camera.

At the heart of both cameras is a newly-developed Exmor™ APS HD CMOS sensor with a resolution of 14.2 effective megapixels. Far larger than the sensor inside conventional compact cameras, its key to the extremely low image noise and creative defocus effects that are familiar to DSLR users.

Still and video image quality is further refined by the powerful BIONZ processor that ensures speedy DSLR-style shooting reflexes with quick, precise autofocus and minimal shutter lag. Both cameras can also capture fast-moving action with a high-speed burst of full-resolution images at up to 7fps (AF/AE fixed from first frame).

An elegant, uncluttered user interface – featuring a new ‘never get lost’ menu – makes the powerful creative possibilities of the NEX-5 and NEX-3 accessible to enthusiasts and step-up users alike. Shooting parameters are easily accessed via an intuitive control wheel and two soft keys. Turning the control dial, for example, allows depth of focus changes to be previewed ‘live’ on the LCD***, giving effortless control over beautiful, pro-style portraits. Further help for novice users is provided by on-screen shooting tips and a friendly help guide.

Images and camera settings are displayed on the big, bright 7.5cm (3”), Xtra Fine LCD with TruBlack technology that tilts up or down for comfortable viewing in any shooting position. The screen features an auto-brightness function for excellent visibility, even when you’re outdoors. TruBlack screen technology enables an even more vivid, high-contrast view of images and camera settings.

Compatibility with a wide range of interchangeable lenses dramatically expands the artistic possibilities of the E-mount camera system.

Ideal for everyday shooting, the low-profile E 16mm F/2.8 ‘pancake’ lens (SEL16F28) minimises bulk when the camera is being carried in a coat pocket. Its field of view can be boosted even further by the VCL-ECU1 Ultra Wide Converter and VCL-ECF1 Fisheye Converter that deliver high-definition optical performance in a sleek, co-ordinated design.

Featuring in-lens SteadyShot image stabilisation for clearer handheld images, the E 18-55mm F/3.5-5.6 zoom (SEL1855) is a perfect travel partner. The NEX-5 and NEX-3 are available in kit form with either lens, or as a double-lens kit that provides even greater shooting versatility. The NEX-5 can also be specified as a kit with the optional E 18-200 F/3.5-6.3 zoom that offers a powerful 11x magnification range plus Optical SteadyShot image stabilisation with Active Mode at wide angle for steadier movie shooting.

An optional LA-EA1 mount adaptor extends compatibility to the α family of 30 lenses and teleconverters, plus a huge range of other legacy A-mount lenses (Manual Focus only).

The NEX-5 and NEX-3 are also the first α cameras to offer the extra convenience of HD video recording. At the touch of a dedicated Movie REC button, the NEX-3 shoots HD video with stereo sound as compact MPEG4 files that are ideal for PC storage and web sharing. Full HD (1920 x 1080i) video captured by the NEX-5 as high-quality AVCHD files can be enjoyed on a connected HD television. As an option, the smart accessory terminal on both cameras accepts the compact ECM-SST1 Stereo Microphone that captures a high-quality soundtrack for your HD videos.

The NEX-5 and NEX-3 are the first α cameras featuring Sweep Panorama. Just press the shutter button and swing the camera side-to-side or up and down. A high-speed burst of frames is stitched together automatically to create detail-packed 23 megapixel panoramas with a 226 degree effective angle of view****. Panoramic files can also be enjoyed in stunning 3D on compatible BRAVIA™ 3D televisions.*****

As previously introduced on the DSLR-A550, Auto HDR has been further refined. The NEX-5 and NEX-3 can now shoot a high-speed burst of three images at different exposure values that are electronically combined in the camera. This produces a single High Dynamic Range image with extended highlight and shadow detail.

Both cameras come supplied with a super-compact clip-on flash that attaches via the smart accessory terminal when needed for low-light shooting. Other optional accessories include the FDA-SV1 Optical Viewfinder plus colour coordinated cases and shoulder straps.

The NEX-5 and NEX-3 system cameras from Sony are available from summer 2010.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.