Sony α NEX-7

My new E.V.I.L. (Electronic Viewfinder, Interchangable Lens) Camera.

The EVF is excellent, stills image and video quality both superb, and the handling is remarkably good for such a small camera. The use of three dials to control each of the main exposure parameters makes so much sense that it seems odd no-one's done it quite like this before. The fact that these dials can also be used to change a wide range of other settings, cycled through by pressing a button on the top plate, borders on genius. In fact the NEX-7 is so good in so many respects that any criticism almost feels like nit-picking. It's not perfect, but then again no camera is, and its imperfections can generally be overcome.

The NEX-7's image quality is difficult to fault. The 24MP sensor is capable of recording huge amounts of detail (just as long as the lens can deliver it), while also offering excellent high ISO performance for low light work, with quite useable results up to ISO 6400. In this regard it does visibly better than the SLT-A77 we reviewed recently that shares the same sensor, but diverts a substantial fraction of the incoming light to its autofocus sensor. It's no stretch to say that, at its best, the NEX-7 offers the finest still image quality of any APS-C camera, bar none.

Fuji FinePix X100

The X100 is without doubt one of the most highly-anticipated cameras of recent years, due to its combination of traditional, 'rangefinder-esque' design and the innovative technology of its hybrid optical / electronic viewfinder. The good news about the X100 is that in certain key respects - its basic operation, viewfinder, and image quality - it's excellent, and more than lives up to the pre-release hype. The bad news is that in some other regards - notably shot-to-shot speed and firmware design - it's decidedly flawed.

One aspect of the X100 that's almost impossible to criticize is its image quality. It may not have the most modern sensor available, but it really does get the most out of its 12MP CMOS, providing highly detailed images at low ISOs and remarkably noise-free and colorful output at high ISOs. The dynamic range is already good at default settings, and judicious use of the cameras 'DR' modes can extend highlight range considerably when needed (although at the cost of working at higher ISOs). Overall the image quality is difficult to fault, either in JPEG or raw.

Apple iPhone 4S 32GB White

This just might be the best camera ever on a phone. And with all-new optics, it just might be the only camera you need. Because behind every shot, you’ve got 8-megapixel resolution and a custom lens with a larger f/2.4 aperture. Not to mention an improved backside illumination sensor, excellent auto white balance, advanced color accuracy, face detection, and reduced motion blur. It all means that no matter how many people, how much light, and how much action you capture, everything looks exactly as it should. And just wait until you see the photos.

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Carl Zeiss Planar T* 1.4/50mm ZF.2

The beautiful Planar 50mm, which on my NEX-7 with crop is 75mm. It’s a manual focus lens, with manual aperture ring. With its versatile standard focal length, the Planar T* 1,4/50 knows exactly how to express character: natural, illuminated and rich in contrast.

The Zeiss Planar T* 50mm f/1.4 ZF is an anachronistic lens these days. It is fully manual both regarding focusing as well as aperture control on the lens. It is not even a perfect lens - the vignetting figures are in line with the rest of the gang and the level of distortions and CAs is even a little higher though still moderate in absolute terms. However, there`re at least two aspects that are definitely -not- moderate. The most obvious one is the great build quality and the other one is resolution. At wide-open aperture you shouldn`t expect great wonders - the Zeiss is in-line with the rest here - but from f/2.8 and up the resolution figures are truly brilliant.

Carl Zeiss Sonnar T* E 24mm F1.8 ZA

The Sony SEL24F18Z 24mm f/1.8 E-Mount Carl Zeiss Sonnar is a Carl Zeiss autofocus lens for the Sony NEX cameras.

As a “fast” (bright) lens with an ƒ/1.8 aperture, its design goals were likely for environmental portraiture, reportage and similar, not a landscape lens.

For full-frame cameras, the Sonnar design is generally used beginning only around 50mm focal length (e.g. the Zeiss ZM 50mm ƒ/1.5 C-Sonnar for Leica M). The smaller APS-C sensor in the Sony NEX-7, and the back-focal distance must have made it an appropriate design choice for the APS-C size sensor in the Sony NEX-7.

Sony 16-50mm f/2.8 Standard Zoom Lens

The Sony 16-50mm f/2.8 Standard Zoom Lens is a compact DT lens that fits APS-C sensor cameras with the Sony A-mount. In addition to the wide-angle to mid-range telephoto zoom, the lens features a large 2.8 aperture. Extra-low dispersion glass works to reduce ghosting, flare, and chromatic aberration, while asperhical lens elements also correct aberrations at wide-angles.

I use this with the Sony LA-EA2 to mount this A mount on the E-mount NEX-7. Also gives me Phase Detection AF using the translucent mirror technology.

Review1 Review2

Sony 18-200mm f/3.5-6.3 Zoom

Sony E-Mount 18-200mm f/3.5-6.3 Zoom Lens for NEX Camera.

The Sony E-Mount 18-200mm f/3.5-6.3 Zoom Lens for NEX Camera is a can-do lens--an 11 x 27-300mm (35mm equivalent) zoom that can handle everything from wide landscape photos to portraits to sports, action and even wildlife photography with the telephoto up to 300mm. And the results will be brilliant, with four aspherical elements that correct visual aberrations across the entire zoom range, a quiet AF motor for improved sound recording with video, and optical Steady Shot image stabilization (with Active mode) for steadier handheld shots while on the move. A circular aperture provides more pleasing out-of-focus areas. This lens is not recommended for use with full-frame DSLRs.

Sony 30mm f/3.5 Macro Lens

Sony's 30mm f/3.5 Macro Lens for Alpha NEX Cameras features a 1:1 magnification ratio at all apertures and ED glass as well as multi-coating for excellent image quality. Chromatic aberration and color bleeding are minimized to produce clear, crisp photos and video. Direct Manual Focusing lets you switch instantly from autofocus to manual focus without any other adjustments, and an internal stepping motor and rear-focusing design provide the quiet, smooth operation that's required for high-quality video capture. This is a versatile lens that gives you plenty of options for quality image-making.

Sony LA-EA2

With Sony's A-Mount Lens to NEX Camera Mount Adapter you'll be able to attach Sony A-mount lenses to your Sony E-mount camera body (NEX cameras). This mount allows you to have continuous phase detection AF while capturing stills and video with the world's first mount adaptor to be equipped with Translucent Mirror Technology.

Novoflex NEX/NIK Adapter

Novoflex Adapter for Nikon Lens to Sony NEX Camera.

Apple MacBook Pro

Apple MacBook Pro “Core 2 Duo” 2.53 15″ (Unibody) with 2 drives (SSD+HD) and 6 GB RAM, my main photo editing machine.

Apple MacBook Air

Apple MacBook Air 13.3″ with a 128 GB SSD and 4 GB RAM.

Apple iPad 2

The iPad first gen 16 GB Wifi. Great for watching photo’s and reading Photography eBooks. Replaced with a iPad 2

Canon EOS 7D

My last DSLR, sold it in december 2011.

Designed for pros and semi-pros alike, the Canon EOS 7D is a high-performance digital SLR, that features the resolving power of an 18-megapixel APS-C format CMOS sensor and dual DIGIC 4 image processors that enable 8 frames-per-second capture of high-definition, low-noise imaging at sensitivity levels up to ISO 12800.

Canon EF 100mm f/2.8L Macro IS USM Lens

The Canon EF 100mm f/2.8L Macro IS USM Lens is a notably updated version of Canon's popular 100mm Macro lens. In its latest incarnation, the 100mm f/2.8L Macro joins Canon's esteemed L-series, and as such is held to a higher level of resolving power and overall construction. Other improvements found on the EF 100mm f/2.8L include Optical Image Stabilization with up to 4-stops of shake control, and a refined Ultrasonic Motor (USM) for quicker and quieter auto-focusing with full-time manual override.

Like its predecessor, the Canon EF 100mm f/2.8L allows for a comfortable, shadow-free shooting distance between the front of the lens barrel and the subject with life-size (1:1) magnification. Optional extension tubes increase this magnification for exceptional close-up detail.

Canon EF 24-105mm f/4L IS USM

The Canon EF 24-105mm f/4L IS USM lens is an easy-to-use standard zoom lens that can cover a large zoom area ranging from 24mm wide-angle to 105mm portrait-length telephoto.

The EF 24-105mm f/4L IS USM incorporates Canon's highest standards of precision optics. The L-series is Canon's flagship professional lens range, combining outstanding image performance and ultimate operability with dust and moisture resistant construction.

Canon's ring-type USM gives silent but quick AF, along with full-time manual focus. Moreover, with dust- and moisture-resistant construction, this is a durable yet sophisticated lens that meets the demands of advanced amateur photographers and professional photographers alike.

Carl Zeiss Distagon T* 2/35

The Zeiss Distagon f/2 35mm ZE Lens classic focal length with a moderate wide-angle perspective, that is perfectly suited for commercial, location and nature photography. This Distagon T* lens is designed to provide very high image quality over a wide range of apertures and focusing ranges. The fast f/2 aperture enables hand-held photography under difficult lighting conditions and the short focus rotation is well-suited for fast action photography.

The lens is designed for use with full-frame SLR and DSLR cameras. Combined with a DSLR with a 1.5 crop factor, the lens has an effective focal length of 53mm and can be used as a standard focal length for a natural viewing perspective.