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Author: admin | Category: How To Learn Piano | 25.03.2016

These watches are often waterproof, so they do not have to take off when going into the water. Even if you’re not a self-proclaimed Fallout fan, this addictive sim is one of the best Android games around.
This action platformer is packed with traps and monsters, but it’s very easy to play thanks to the simple tap mechanic. Canon expands its contribution to cinematic culture with the introduction of the new EOS C500 4K Digital Cinema Camera and the EOS C100 Digital Video Camera. The Canon EOS C500 and C500 PL digital cinema cameras are designed to provide a versatile high-quality 4K imaging solution to high-end productions. While outputting 4K or 2K video to an external recorder, the Canon EOS C500 and C500 PL digital cinema cameras simultaneously record a 50 Mbps Full HD video file in-camera to the user’s choice of one or two CF cards. The Canon EOS C500 and C500 PL 4K Digital Cinema Cameras are scheduled to be available in October for an estimated list price of $30,000. After having their photos and some specs leaked this past weekend, the Sony NEX-3N and A58 finally became real today through an official announcement by Sony.
First off the NEX-3N is a compact mirrorless camera with an APS-C sensor within that snaps 16.1 megapixel photographs. Sony is introducing a new pop-up flash in this camera, but perhaps you won’t need it too often, as the NEX-3N also has a max ISO of 16000. Other features include HD video recording and a new BIONZ processor that does the same noise reduction mojo as the A99. The lenses will arrive in Europe in March 2013 (pricing and international availability TBA).
This photograph shows the camera equipment that Getty Images photographers will be using Brazil for the upcoming Rio Olympic Games. Photographer Matt Sprouse of Greenwood, South Carolina, shot this clever parody of those popular water hair flip photos that typically feature girls with long hair (rather than guys with long beards). For the second time in as many months somebody has tried to use my images to lie to models about their photography. Microsoft today launched Microsoft Pix, a new smart camera app for the iPhone that uses artificial intelligence features to help you shoot better photos. The Salar de Uyuni in Bolivia is the world's largest salt flat, and a dream location for landscape photographers hunting for special shots. Cambits is a new modular camera being developed by scientists over in Columbia Engineering’s Computer Vision Laboratory. Ditching extraneous gear pays dividends when you’re traveling -- and not only the ones you might expect. I've been a street photographer for a while now, and I would like to share what I believe are 3 popular misconceptions about street photography -- things I've seen pop up over and over.
It's easy to forget that Sony doesn't just make full-frame mirrorless cameras, but they do. The artist statement Nancy LeVine sent us for her series Senior Dogs Across America begins with a paragraph that left this writer in tears—a tribute to the two dogs she had to let go of.
Here's a fun little video to help you get over hump day and on to the second half of the week. A home security camera has captured the cringe-inducing way a $500 camera lens was delivered to an Amazon customer in Indiana. Here's a quick retouching tip that almost every portrait photographer will end up using at least once: how to quickly and easily fix shiny or oily skin in both Photoshop and Lightroom. As the fourth major manufacturer to enter the market for small, mirrorless digital cameras with interchangeable lenses, Sony had to make a big impression. The promise of mirrorless digital cameras has been high image quality without all the bulk, and the photographic versatility of interchangeable lenses. There are so many interesting innovations in the Sony NEX-5 and NEX-3, that it's difficult to know where to start.
A 14-megapixel Exmor APS HD CMOS sensor is responsible for the high quality we found in the images from both cameras, and a new Bionz processor is also hard at work in the two cameras.
Several hot features were brought over from recent Alphas and Cyber-shot digital cameras, including Sweep Panorama, Auto High-Dynamic Range shooting, Handheld Twilight, and Anti-motion-blur modes, each of which strategically combine and align several images into one seamless one.
Though by name the new cameras are Alphas, they no longer use the Alpha mount; instead Sony has christened a new E-mount, for which two lenses will ship right away, both as kit lenses. An adapter is available for mounting Alpha lenses, but autofocus will be disabled with the NEX cameras.
The NEX-5A will ship in July with the 16mm lens for US$650, while the NEX-5K with the 18-55mm lens will sell for US$700. Much like sports car designs emphasize their command of the road by contrasting their low profile bodies with large, fully exposed wheels, the Sony NEX design shows its command of light by contrasting its small digital camera body with a large, burnished gunmetal lens (the 18-55mm is shown here). From the top of the Sony NEX-5 you see the stereo microphones, rather obviously marked L and R, and the three holes for the speaker.
Here you can see the dramatic size of the 18-55mm compared to the camera body, made more dramatic by the included lens hood.
The large rear-accessed power switch is separate from the shutter button, which places the shutter button in a better position out on the grip, while the two are integrated on the NEX-3.
Here also is the first evidence of the tilting LCD screen, just left of the Movie Record button.
Sony developed an all-new lens system for the new NEX line, with a shorter flange distance (back-focus distance) to yield more compact lenses, and lenses with faster, more precise focus drive to meet the demands of live contrast-detect autofocus during video recording. Sony says the new E-Mount lenses have silent focus and silent, continuous aperture control. Compared to the more expensive Panasonic Lumix GF1, the Sony NEX-5 is indeed quite small, taking up less space overall. The Sony NEX-5 is dramatically smaller than the slightly lower-priced Olympus E-PL1, at least from the front.
The NEX-5's tilting, widescreen LCD is an obvious advantage over the E-PL1, but the E-PL1's menu is a little more straightforward, with an easier menu design, and the flash is truly integrated into the design. Olympus doesn't gain much advantage over the NEX-5 with their collapsible lens, especially considering its loose front optic.
It's with this comparison to a very small digital SLR that you can really start to see the advantage of the Sony NEX-5, an SLD with an APS-C-sized sensor inside. From the top you get the idea of why it's harder to bring an SLR along sometimes: that third dimension of the lens. 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. While they don't power-up quickly, the Sony NEX cameras do focus and fire quickly, especially in good light. Generally, if I'm out shooting, I have the camera on, so its power-up time hasn't been an issue.
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.
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. With the 18-55mm, I like the way it feels to have just lens, grip, and LCD to frame my images: the bare necessities. 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. 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. 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.
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. Rather than using the truly simple menu from the other Alphas, which are among the best in the business, Sony opted for a more complicated scheme that uses buttons to get to icons to get to menus, some of which are pretty long -- and when you get to the bottom of some very long lists, the menus don't wrap back up to the top. Another peculiarity is that you can't review both images and videos in Playback mode at the same time.
Add an option to the Setup menu that would let you configure the camera's default menu behavior to drop you back to the last-used menu position, rather than always at the top level. Likewise, as noted above, an option for the camera to leave you in the menu system after making an adjustment, rather than popping you out to shooting mode again would be a real convenience. Make the system less modal; let the user change more things regardless of the mode the camera is in. Add a setup menu item that would let you configure the lower-right button as a custom function button, rather than defaulting to Shooting Tips.
Add a Quick Menu, optionally activated by the lower soft button, to give quick access to a number of common settings. As we said, it may be too late to make any of these changes before release, but they'd be great to add to the firmware update slated to bring 3D Sweep Panorama sometime in July.
We've prepared a huge writeup on all the Sony NEX-5's video capabilities, which we encourage you to check out, but the basics are that it records 1080i video at 60 fields per second in full AVCHD. To see Dave's very thorough writeup of on the Sony NEX-5's video capability, so check it out on the Video tab. Though I wouldn't say the Sony NEX-5 blows all the other cameras out of the water, it certainly does better at more elements in our Still Life target than any of the cameras we set it against.
See the crops and commentary below for more, and be sure to see our Optics and Image Quality pages for a more thorough analysis of image quality. Your knight automatically runs around hacking all kinds of monsters and you tap to launch special moves. The game’s old-school look is nothing new, sure, but the title does introduce a new level every single day, which routinely keeps you coming back for more.
Playing as an animal, you charge around trying to knock down hunters before facing off against a melody of bosses. It’s a cute isometric puzzler starring robots, one that also allows you to build and share your own levels. The C500 will take its place as the flagship camera model in Canon’s Cinema EOS System while the C100 provides another option for beginning filmmakers working on a budget. High-quality 4K resolution imaging has become the new standard for advanced effects and is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery.
The Canon EOS C100 Digital Video Camera is scheduled to be available in November 2012 for an estimated list price of $7,999. The new mirrorless and pellicle mirror cameras were unveiled alongside a set of new lenses, and offer some pretty standard upgrades to current models. Sony claims that this camera is the world’s smallest and lightest interchangeable camera that uses an APS-C-sized sensor.

Highsmith is reportedly suing Getty Images for $1 billion, claiming that the stock photo company committed copyright infringement through the "gross misuse" of 18,755 of her photographs documenting America.
Because of this deception, it's certainly no giant leap to accuse these individuals of ill intent, especially if they are actively lying to models in their first messages of contact. Russian photographer Daniel Kordan visited the salt flat at night and captured a set of photos showing the Milky Way being reflected by the flooded plain.
It's a set of colorful plastic blocks that can be assembled into a custom camera of your choice. A weather camera at the top of a tower in Nebraska got an unexpected visit from a curious hawk this week.
As you can see in the 30-second video above, the delivery man couldn't be bothered to take a few extra steps and bend over. The Sony NEX-5 delivers that better than any model so far, and does it with style and a sturdy build.
Easily the biggest news, though, is that the Sony NEX series is the first interchangeable lens digital camera system designed to tackle continuous autofocus and exposure adjustment while recording video, where all the components, bodies and lenses, support the feature. The surprise is that the super-slim LCD tilts up 80 degrees and down 45 degrees for easy viewing.
Two converters will also ship for use with the 16mm lens: an Ultra Wide Converter with a 12mm equivalent view, and a Fisheye Converter.
NEX-3A cameras with the 16mm lens will sell for US$550, while the NEX-3K cameras with the 18-55mm will sell for US$650. Unlike the rest of the SLD (single-lens, direct-view) digital cameras, the two new Sony NEX-series cameras don't try at all to look like an SLR or rangefinder.
That's more true with the NEX-5 than the NEX-3, whose very mount size exceeds the camera body's height (click on image at right for a larger sample). Between the two mics is the accessory flap, smaller than the one on the NEX-3, which you lift up and back, pivoting on its rubber hinge, to access the small accessory port. While the Sony NEX-5's lens mount makes the Sony 16mm lens look thicker, it's really about the same thickness as the Olympus 17mm M.Zuiko.
Despite the narrow space between the grip and lens, I find the NEX-5's grip more comfortable than the wide, thin grip on the NEX-3. The Sony NEX cameras are designed to hang with the lens pointing down, just like their spiritual predecessors (the F505-F717 mentioned earlier).
Wrap your fingers around the Sony NEX-5's grip and bring your thumb around and up to the strap, and your thumb easily reaches the power switch. The NEX-5 uses an all-new Sony Exmor CMOS sensor that combines the large, low-noise pixels of APS-C format chips with advanced high-speed features previously found only in Sony's Exmor-R digicam sensors. The Sony NEX cameras have a dust abatement and removal system, where they've included a charge-protection coating on the low-pass filter, and they also vibrate the low pass filter to shake dust free. Sony doesn't say much about the new Bionz processor beyond that it's the third generation of the chip. Sony's new lenses are designed to respond more quickly than conventional SLR lenses can, with the express purpose of enabling autofocus while shooting video.
The lens irises are also driven by stepper motors to provide continuous aperture adjustment to prevent sudden jumps in brightness as the aperture is adjusted while video is being recorded. See our Optics tab for a more thorough writeup of Sony's new approach, as well as our completed test results for both kit lenses.
Sony's introducing a whole new menu system on the NEX series cameras, one that looks and sounds quite snappy as you navigate, but our pre-release cameras had a few problems that served as the only real negative points in our experience with the NEX-5 and NEX-3. The Sony NEX-5 comes with quite a few special features borrowed from the Cyber-shot line, the most interesting of those being the Sweep panorama feature.
The result can be a panorama up to 12,416 pixels wide, covering a horizontal angle of 149 - 226 degrees. The Sony NEX-5 is compatible with two memory card standards, each with various permutations. While the Panasonic GF1 is a very nice small camera, its surprising just how big it looks next to the Sony NEX-5. With the pentamirror removed from the equation, as well as the full, four-fingered grip, Sony can obtain a much lower overall height. The Canon T2i, though, has more buttons for quick access to oft-used functions, an optical viewfinder, and a Quick Menu. It's from here that you can see the advantage of removing the mirror box from the equation. 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. 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.
The VCL-ECU1 is an Ultra Wide Converter that makes the 16mm into a 12mm lens thanks to its 0.75x magnification. 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. It's not going to perform miracles, but it does get you indoor shots that you'd never get otherwise.
A cool Scene mode called Handheld twilight (HHT) does a trick that some of Sony's backlit-sensor cameras introduced last year.
The Sony NEX-5's Sweep Panorama is intended more for shots like this, I think, than for busy street scenes.
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. When you know the camera's going to have a hard time capturing a scene like this, Sony's Auto HDR can help. I found a perfect opportunity to demonstrate HDR's benefit: a beauty salon built into the old Woodstock Jailhouse with its door open.
Focus is active at all times, far as I could tell, whether I had continuous focus on or off.
Put simply, bokeh is the quality of the out-of-focus areas in an image, and Sony boasted that their larger APS-C sensor (which allows a narrower depth-of-field) combined with their optics give better bokeh than Micro Four Thirds cameras can.
Worse, once you've found and adjusted a menu item, you're dropped into Record mode, rather than back to the Menu, where you could make further adjustments.
Sony has since released firmware update version 03, which addresses some of these UI issues and adds new features as well. Even one more button in the lower right corner of the rear panel, or to the left of the Movie button on the angled top panel could have really helped with some of the user interface complexity.
Some would be more involved than others, but some of the simplest (default menu behavior options, for instance) should be trivial to add, and would make a huge difference to UI usability. I didn't get a strong impression of the Optical SteadyShot's effectiveness with the 18-55mm, probably because I was so busy playing with all the other low-light features. Certainly the hot feature among SLRs these days is video capture with interchangeable-lens digital cameras. Most impressive is that it focuses fast enough to track a subject running full speed at the camera. There are also coins to collect, along with power-ups, boosts, and a few other notable surprises. The C500 is Canon’s high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. The C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream, as well as offering the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. I never thought I would, especially after attempting the Sony camera system twice previously.
He has also spent decades collecting Nikon gear, amassing an arsenal of cameras and lenses worth over $100,000. As if that weren't enough, Sony's also announcing an upcoming upgrade (even before the cameras ship!) that will enable a special 3D Sweep Panorama mode that will work with several as-yet unannounced Bravia TV sets coming in July 2010.
With TruBlack technology borrowed from Sony's picture frames, shooting in or out of doors is a pretty good experience. The Sony NEX-5 is more aggressive than the NEX-3, looking a lot like a Sony T-series camera with a grip and a big lens screwed onto the front.
Lower left of the lens in these shots is the lens release button, and upper left is the AF-assist and self-timer lamp.
So far, the port accepts the included accessory flash and the optional accessory microphone; for now we haven't heard of any plans for an accessory EVF, though Sony plans to release an optical viewfinder accessory with a 16mm field of view. The Sony NEX-5's grip is much thicker front to back, with a deeper angle for the fingers to get a hold.
This has several advantages, one being that the screen is less likely to be scratched by shirt buttons, and the small camera body won't pitch forward at different angles depending on what lens you have mounted. The display also uses Sony's Clear Photo LCD Plus and Tru Black technology from Sony's line of digital picture frames. The photo above shows the sensor from the NEX-5 next to an Exmor-R sensor of the sort used in Sony's X-series digicams. It is an APS-C sized HD-CMOS sensor that Sony says is 60% larger than a Four Thirds sensor, and 13 times larger than a typical video camera sensor, so they expect performance gains in both areas. Looking at the images, it could be a big part of what's improved their image quality so much.
Most SLRs either disable autofocus while capturing video, or else they essentially ruin the bit of the video where you're focusing because of the lens motor noise and the excessive focus and exposure changes required.
Expected Battery life is shortened somewhat because while the camera is on and in Record mode, the Sony NEX-5 will continue to seek focus whether you're in continuous or single focus mode. Though the Sony's 18-55mm stabilized lens is roughly the same size as the Rebel's lens, most of the advantage comes from reducing that gap between the lens and sensor. That was lost with many of the Alphas, with the exception of the high-end of their body and lens lineup. Powering the camera on, though, is a little like watching yourself wake-up after a very deep sleep.
The opposite is true with the Micro Four Thirds camera, where the 17mm is pretty much all I use for the shooting I do.
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. The Fisheye Converter will give a very wide view with all the distortion you expect from a fisheye lens. 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. The Sony NEX-5 and NEX-3 have to fire much larger shutters than their Cyber-shot counterparts, then combine the images into one shot.

Note the car without a middle just right of center, and one truck with an extra grill and one without a tailgate just left of center. 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. Note the cosmetics on the shelf in the doorway in the bottom image and the shadow area under the tree.
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. Part of its front is lit by bright sunlight, part is in shadow, and the open door is even darker. I usually choose the Center point AF option regardless what camera I use, but the Sony NEX-5 has a strange habit of just giving up and selecting the entire image as the center, especially in low light.
Startup to first shot is about 1.0 second, but in reality it's about 2 seconds before the screen comes fully alive. It seems to be true of the two kit lenses, with background elements appearing a little softer and smoother from the Sony.
The Sony NEX-5 is a blend of more traditional digital camera design with an SLR sensor and interchangeable lenses, but the best of both worlds were not always chosen.
The Face Detection option for example, is grayed out by default, and the only way to activate it is to first turn on Multipoint AF and Multi-area exposure.
We unfortunately can't go back and update reviews each time new firmware comes out, but you can view the list of improvements according to Sony in our NEX firmware update news article. That is, if you've been shooting stills and movies, and the last thing you shot was a still, when you press the Playback button you'll only see still images.
But most of my shots were good, and as I hold the camera still, analyzing the image on the LCD, the system seems to absorb my heartbeats pretty well while I hold the camera as steady as possible.
Their reasonably inexpensive optics open up budding videographers to new levels of creativity. There are some issues as to what type of subject is more likely to get its attention, but as I've already mentioned, the Sony NEX-5 seems to be checking focus all the time it's on, whether you're shooting stills or video. The C100 digital video camera is a compact, affordable entry-level model delivering full 1920×1080 HD video and integrating the popular AVCHD codec for universal compatibility with laptop and desktop editing systems. All of these digital image source formats fully conform to established SMPTE production standards. Highly mobile and compact, the C500 digital cinema camera provides the same ergonomic features as the C300 model, with the exception of a fixed hand grip that incorporates a pair of 3G-SDI ports for 4K video output and another pair of video ports for monitoring purposes. But as it turns out, my issues with Sony cameras have been resolved, for the most part, thanks to the A7RII. It also evokes the memory of the Sony F505 through the F717, unusual looking cameras produced from 2000 to 2002.
Bordering on the absurd, especially with the 18-55mm lens mounted, the Sony NEX-5 manages to pull off this seeming overemphasis on optics if only because of the lens's shiny aluminum barrel, whose efficient shape speaks of precision.
The 16mm lens will also accept a wide-angle adapter and a fisheye adapter, which mount on the bayonet located on the inset plastic barrel that holds the actual lens elements. The Playback button is also on top, which is a bit of a nuisance, since it's one of the things you want to quickly find and activate while you're looking at the LCD. Sony knows that the lenses will usually tip the camera forward, especially on a camera whose body is so light, so why not just hang the lens downward in the first place? The LCD is easier to tilt upward than downward, requiring a little finesse combined with force to coax it into its 45-degree downward angle. The Control wheel is very well designed, with a high edge around the perimeter with fairly sharp cuts for a good grip. 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. Since the 17mm is equivalent to a 34mm lens, it's natural I'd prefer that over the 24mm equivalent found in the 16mm.
It's absolutely tiny, rests right above the lens, and jacks in via a special connector concealed beneath a plastic door. As if it weren't enough to have a camera that does Sony's cool Handheld Twilight mode, Sony made some strides that improve its high-ISO performance noticeably.
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. 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. 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.
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. In this case, Sony says they completely redesigned the interface to make it easier to control with only a few buttons, but it really brings to mind the inconvenience of some of Sony's recent Cyber-shot menu systems. While the camera has 80 photography tips, none of them address such a fundamental issue as this. The large sensor in APS-C-sized digital cameras allow better low light performance and let shooters use selective focus as a storytelling device, quickly switching attention from one subject to another using only the focus ring. The C500 will be available in both EF- and PL-mount versions; while the C100 will be offered in EF mount only and will be compatible with the more than 70 zoom and prime lenses in Canon’s EF, EF-S and EF Cinema lens line ups.
Canon is working with several independent manufacturers of external video recorders to support smooth workflow options, and these recorders are expected to be available by the time the EOS C500 and C500 PL 4K digital cinema cameras ship to authorized dealers later this year.
After several years of relative sameness among digital camera designs, it's refreshing to see something bold. What I discovered when I attached the strap was that several of the camera's design elements that seem awkward at first suddenly make perfect sense.
Rather than fill the small space with expensive buttons, Sony has designed a new interface that's context-sensitive. You can also choose full Autofocus, DMF, which allows you to adjust focus after the autofocus operation, and Manual Focus.
Though physically they are very different, functionally they are nearly identical, so I'll talk mostly about my experiences that are familiar with both.
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. A thumbscrew tightens the flash in place, and on the NEX-5 at least, the flap marries neatly with the flash's thumbscrew door. It's no Nikon D3x, but it still does better than a good share of the market in our low light tests. 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.
I want to know that it's going to focus where I tell it, so I switched to Flexible Spot, which has the added benefit of moving to just about anywhere onscreen, corner-to-corner, just missing the edges. If you set the camera to Continuous AF, though, focus will tend to wobble very rapidly as the contrast-detect AF system rapidly checks and rechecks focus many times a second.
My first impression of the NEX-5's menu system was quite positive, because it was snappy and beautiful. Just press the Shoot Mode button, the virtual Mode dial comes onscreen, you rotate the dial, press the center button, and you're in. There's always the manual, yes, but some of this stuff should just be automatic (turn on face detection and it automatically changes to Multipoint AF and Multi-area exposure). The menu's responsiveness is very quick, with snappy clicks to accompany wheel motion and onscreen action.
Then after another half-second, the view begins to fade in, from blackness to a dim vision, to full brightness. The good news is that the Sony NEX-5 also saves a copy of the middle exposure before building the HDR image, giving it the next number in the series. It can be quite strange to see an entire building pulsate as you try to hold the camera steady, but rest assured the camera is doing what you told it to.
The most attractive item is the Scene menu, in fact, which includes high resolution photos to illustrate the purpose of each.
We think this might be because scrolling through movies takes a long time -- like two or three seconds per item -- while stills are easy to flick through. Having items mysteriously greyed-out only makes the camera more confusing for users of any level. 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.
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. 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.
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. It's how hard it is to turn back off, because I seldom want to shoot in Auto HDR for more than a few images, and then I forget I have it set for the next shot, and right when I don't want it to, the Sony NEX-5 will rattle off another three shots.
Rather than please consumers, though, idiosyncrasies like this are going to make users think they've lost images or videos.
It takes long enough that I've more than once had to check to make sure the lens cap wasn't on. 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. For the first time, too, the sound that accompanies menu selections -- a sharp click -- is actually quite nice. We did notice that using the Control wheel to make frequent adjustments can wear on your thumb after only a short time, but thankfully the Control wheel also serves as a four-way navigator, which you can also use to step through the menus.
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. Unfortunately, my initially positive reaction to the NEX-5's menus didn't survive my actually trying to use them.
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.
What's worse is if you need to change a setting on the Setup menu, which contains 35 items.

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