NEX-7's 3. The TruBlack screen includes a special resin layer to suppress internal reflections, increasing contrast compared to conventional LCDs. Sunny Weather mode boosts visibility even further. If you get stuck in repairing a defective appliance download this repair information for help.
See below. Good luck to the repair! Please do not offer the downloaded file for sell only use it for personal usage! Looking for other manual? If you are not familiar with electronics, do not attempt to repair! The NEX 7 does not have an uncompressed file option. The manual clearly states that ARW files are compressed and this is born out by the size of the files.
This results in artifacts at fairly small enlargement. Whilst most professional reviewers are writing very positive, comprehensive feedback, amateur armchair experts seem to picking holes in everything by writing messages all over the Internet that are littered with non-understandable technical jargon. I am far from sure anyone without an advanced degree in photography can understand what on earth they are on about. I agree. I came late to the NEX-7 and think it is an exceptional piece of kit that produces superb images, even in my hands I could only criticise the user interface which could be friendlier and which has apparently been improved on later 'Nex' developments.
I have been happy to adapt to it, though. It is one of those classic cameras like my Sony R1 which I will hold on to for life. I have had an NEX-7 for about a year now and like you find it an excellent piece of kit: It far exceeds my abilities. My friend is a Pro in London and uses cameras which are far more expensive said he may get one because the quality is excellent, especially for the quick shots outdoors when setting up his stuff would take too long and the moment lost.
I agree with you and my Canon equipment has been collecting dust since my purchase of the Nex7 and a Both outstanding and so portable.
The fact you can shoot video through the viewfinder, is the biggest plus among many for me. The likely negatives come from those who don't own one. I bought a Nex-7 for pro work when it was first introduced, open minded about it replacing my Nikon SLRs. On the first assignment I discovered that the ergonomics were nowhere near as efficient as a Nikon SLR's, the kit lens was soft in the corners, the jpegs watercoloury at high ISO, and the battery was too small, so it fell into disuse.
Then I bought a Nikon adapter and used the Nex-7 for rapid shots through a manual focus tele lens, landscapes with a tilted lens or when I needed to assess depth of field carefully, and close-ups where no mirror slap was an advantage. I tried using it for video, but found the touchy record button too unreliable. On one remote shoot I took 15 spare batteries, using the camera only for video and panoramas, and used up the last battery on the last day.
It served me well enough, a camera with terrific raw image quality let down by an inefficient, fiddly interface, some poor lenses and jpeg processing, and short battery life. The holidays are a great time to take pictures — and they're a great time to get a camera for yourself or for a loved one.
With more than 50 cameras going through the hands of the DPReview team over the year, we've seen it all or so we think. Based on our collective knowledge we hope this guide will help you make an informed decision on which camera will fit your needs. In part 1, we look at enthusiast interchangeable lens cameras. Sony USA has said the NEX-7 will begin to ship this month to some customers who pre-ordered it, following a halt in production cause by flooding in Thailand in October.
Production is still limited but the company says it will 'aggressively pursue all efforts to restore full capacity' for the NEX-7 and other affected models which is thought to include the NEX-5N, A65 and A The company also claims a contrast ratio of 10, - ten times greater than that offered by its latest WhiteMagic rear LCD screens, also detailed in the company's latest semiconductor newsletter.
Their appearance in the newsletter is likely to mean they are available for sale to other manufacturers, raising the prospect of other makers' cameras appearing with high-resolution OLED EVFs. We dig into the detail The Nikon Z mm F2. With a versatile focal length range and a fast aperture for low light photography and blurry backgrounds, this lens promises sharp imagery and smooth bokeh with minimal aberrations. How does it actually perform?
Find out in our full review. If you're looking to speed up your editing workflow, few pieces of hardware can make complex masking, brushing and cloning jobs easier than a digital pen.
We look at Xencelabs' latest offering, the Pen Tablet Small. The Great Joy 60mm T2. Apple's flagship M1 Max MacBook Pro offers a combination of performance, efficiency, build quality, and screen quality that you cannot find in any PC on the market, full stop. What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important.
In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
If you're looking for the perfect drone for yourself, or to gift someone special, we've gone through all of the options and selected our favorites. These capable cameras should be solid and well-built, have both speed and focus for capturing fast action and offer professional-level image quality. Although a lot of people only upload images to Instagram from their smartphones, the app is much more than just a mobile photography platform.
In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media. Let's be honest—these aren't going to have the best image quality. In this video we are joined by Atola Visuals to get an in depth look at the DJI OM5 - a powerful 3-axis gimbal for smartphone videographers and vloggers.
An eagle-eyed Redditor has pointed out that Fujifilm's 'new' Fujicolor film stock has very similar color characteristics as Kodak's Gold color negative film, suggesting the recent release might well be white-labeled Kodak film. A macro film shot by Russian filmmaker Vadim Sherbakov on a DJI Pocket 2 is inspiration for creating during cold winter months and lockdowns in some parts of the world. Security researchers at ZecOps have developed a trojan proof of concept tool that can inject code into three crucial iOS daemons.
The tool simulates a shutdown, keeping the phone powered on in a simulated 'off' state, leaving the device vulnerable to infiltration and monitoring. The Leica M11 may look like the other M-series cameras that came before it, but it has some notable upgrades and changes. Find out why Chris thinks it's the most enjoyable 'M' camera he's used. How do those beautiful Leica lenses hold up to high resolution? Leica has announced the M11, the newest member of its M-series rangefinder line of cameras.
The Associated Press will launch a non-fungible token NFT photography marketplace, built by white-label blockchain marketplace makers Xooa, on January 31st. The new 21mm T1. Last year, the company unveiled some fascinating AI-powered research projects, including technology for converting text into images and 2D images into 3D models.
The announcement is set to take place at 7am EST on January 19, PWRBOARD is the first product from a company of the same name that hopes to simplify charging through a modular peg-style board that can be mounted to your wall or tossed in a bag for on-the-go. Check out their sample gallery, shot in sub-zero Canadian temperatures, to judge image quality from this retro-inspired camera yourself.
Canon is now telling customers that it's okay to ignore the warning messages that encourage the use of genuine ink. This means third-party developers such as Litchi, Dronelink, and DroneDeploy can now update their apps to be compatible with these models.
According to the teaser video, the lens will feature a T1. Fujifilm has used the 10th anniversary of its X Series release to announce the date of its X Summit event, where Fujifilm says it will release its 5th generation X-mount camera in May. In this video, we join lifestyle and commercial photographer Christian Sorensen Hansen as he uses Fujifilm's latest lenses to shoot documentary and fashion coverage at Freeman Seattle - a family-run clothing company based in Seattle Washington.
In a new series about composition, landscape and nature photographer Erez Marom develops an idea about viewing compositional elements as masses and lines, and challenges the viewer to determine what the elements of an image are, as an exercise in photographic vision.
Chris and Jordan ventured into the frigid Canadian winter for their full review of the Nikon Z fc, earning Chris a beard full of ice. The good news? All those old-fashioned dials worked great with mittens. Watch this week's episode to see their verdict on this retro-looking camera.
While he usually photographs wild cats, wildlife photographer Steve Winter was tasked by WIRED to photograph a domestic cat in a city studio. After shooting images, how does Winter select his single best image? OnePlus has spent the week teasing its new flagship OnePlus 10 Pro smartphone. It has finally been fully unveiled ahead of its launch in China next week.
While not a lot is new, the phone includes improved color, better software and a new degree ultra-wide camera. It's not just camera manufacturers being impacted by the semiconductor shortage.
In a live-view camera, the shutter curtains are initially open, so light can reach the sensor to create the live viewfinder display. In live view mode with a conventional mechanical shutter, the bottom curtain has to be raised first, before the exposure can begin.
This of course takes time, increasing the shutter lag before the exposure can begin. The closing of the first curtain can also introduce additional vibration, affecting image sharpness at some shutter speeds.
See our detailed discussion of the blur anomaly in the original Olympus E-P1 for an example. The same issue exists to a greater or lesser degree in most mirrorless cameras, though it's all but invisible in some.
What's new in this latest crop of Sony cameras is that the "first curtain" function can be performed electronically, via a Setup option. Rather than having to raise the shutter curtain before the exposure, the NEX-7, NEX-5N, A65, and A77 all can begin the exposure electronically, manipulating voltage levels on the sensor array to enable light-gathering in a progressive wave, sweeping down the sensor's surface.
The most noticeable result of this is that shutter lag in live view mode is very brief: Sony claims only 20 milliseconds 0. The reduced curtain movement also reduces shutter-induced camera vibration, and makes for a much quieter shutter release as well: All Sony's new cameras with this shutter setup are unusually quiet in operation.
A 20ms release time is actually quite a bit faster than even very high-end professional SLRs can manage. Tilt level. The Sony NEX-7 includes a dual-axis level gauge, which helps ensure level horizons and prevent converging verticals in photos.
The gauge is displayed in a style reminiscent of an aircraft attitude indicator, but with a separation of the roll and pitch indicators. When the camera is perfectly level, the pitch indicators and markings at the end of the roll indicator are illuminated in green.
Face detection. Even among SLRs, face detection during live view is a fairly common feature these days, and for compact system cameras its pretty much standard.
The Sony NEX-7 goes a step further, though, in offering the ability to register the faces of eight specific individuals, who will then be automatically recognized and prioritized over other faces when determining focus, exposure, and flash output, as well as during post-exposure image processing. The NEX-7 is capable of simultaneously detecting and accounting for up to eight faces in any given scene, and also includes a Smile Shutter function with three-step sensitivity, which will automatically capture an image when your subject is smiling.
Of course, face detection can be disabled, should you wish. The guide number is 6 meters at ISO , and coverage is 18mm, with a maximum recycle time of around four seconds. The addition of the full-sized hot shoe and popup flash means that the NEX-7 doesn't include Sony's Smart Accessory Terminal, seen on other recent NEX-series models, and hence isn't compatible with accessories dependent upon this. Although the NEX-7 doesn't include a built-in sync terminal, Sony is offering an FA-ST1 sync terminal adapter which mounts on the camera's hot shoe, allowing connection to studio strobes.
The Sony NEX-7 includes quite a range of creative controls to help photographers get the look they're after, with a minimum of time spent in the digital darkroom.
A selection of eleven Picture Effect modes are available, five of them new since the NEX-5 with one mode having been removed. A Dynamic Range Optimizer function aims to open up the shadows while maintaining highlight detail, and can be left under automatic control, or set to one of five preset levels.
There are also several multi-shot modes, including Hand-held Twilight and Anti Motion Blur both of which allows faster shutter speeds with reduced image noise , and an Auto HDR mode. This last creates a single high dynamic range image from three sequential shots, whose exposure level varies anywhere from 1 - 6 EV in 1 EV steps, controlled automatically or manually. The NEX-7 also offers an in-camera Sweep Panorama function, which captures and stitches together multiple images as you sweep your lens across a panoramic scene.
When set to Wide mode, Sweep Panorama can create a horizontal scene with a resolution of 12, x 1, pixels, or a vertical scene with a resolution of 2, x 5, pixels. In standard mode, the horizontal dimensions are 8, x 1, pixels, while vertical panoramas occupy 2, x 3, pixels. Since the NEX-7 only has one objective lens, the stereo effect is created using some clever mathematics to reconstruct a 3D image as the subject passes across the lens' field of view.
The result is saved as a single multi-picture object file that contains two separate JPEG images, one for each eye, allowing it to be viewed on 3D-capable Sony Bravia displays In Wide mode, 3D Sweep Panoramas occupy 7, x 1, pixels, while in Standard mode the resolution is 4, x 1, pixels.
There's also a mode, which saves a 1, x 1, pixel panorama suitable for full-screen HDTV viewing. The Sony NEX-7 also offers Full HD 1, x 1, pixel video capture capabilities, and according to Sony, is the world's first interchangeable-lens camera along with other Sony models simultaneously announced able to record Full HD off the sensor at 60 frames per second. We've seen cameras previously which recorded 60 interlaced fields per second at Full HD resolution, but these either clocked the data off the sensor at 30 frames per second and then split each frame across two interlaced fields, or they clocked the data at 60 frames per second but discarded alternating fields, to be compliant with the original AVCHD 60i specification.
When set to NTSC mode, the available progressive-scan rate are 60 fps 28 Mbps or 24 fps 24 Mbps or 17 Mbps , and you can also opt for an interlaced 60 fps 24 Mbps or 17 Mbps. If you switch to PAL mode, the options are the same, except that the 60 fps rates are replaced by 50 fps equivalents, and the 24 fps rates by 25 fps ones. It's also possible to record at a reduced bitrate resolution of 1, x 1, pixels 12 Mbps that's still aspect ratio using rectangular pixels , or a standard-definition VGA x pixel, 3 Mbps resolution.
Note that no p recording mode is available on the NEX Unlike many competing cameras, the Sony NEX-7 provides full control over movie exposure--even allowing adjustment during recording--with a choice of Program, Aperture-priority, Shutter-priority, or fully Manual recording. It also allows Tracking autofocus, as well as use of Creative Style and some Picture Effect modes during movie capture. Recording is started and stopped with a dedicated Movie Record button on the NEX-7's rear panel, and audio is captured by default with a built-in stereo microphone.
A built-in monaural speaker caters to movie playback, and has an eight-step adjustable volume setting. To let you immediately judge composition, exposure, and the like, the Sony NEX-7 provides an optional Auto Review function that can display images on-screen for two, five, or ten seconds immediately post capture. In addition, images can be enlarged up to Two index views are available, showing either six or twelve frames at once. This allows certain playback functions such as switching between images to be performed using the attached display's remote control unit.
There's no standard-definition video output on the NEX-7, though, so photographers who've yet to switch to a high-def display will need a third-party device with which to view images on a standard TV. This includes a dummy battery which feeds power to the camera from the AC adaptor, with a small flap in the battery compartment door providing ingress for the dummy battery cable. With the exception of the aforementioned flash hot shoe, and jack for an external stereo microphone, there is no other external connectivity on the NEX When using the built-in electronic viewfinder, rated battery life falls to shots.
I had an opportunity to shoot with a prototype NEX-7 at a press event Sony held in San Diego, and we've since been able to test a full-production sample back at IR headquarters.
Just to get it out of the way at the outset, I have to say that the NEX-7 is my new favorite camera: I can't say enough about how great the new "Tri-Navi" interface is although I'll certainly try to below , the image quality is truly exceptional, and Sony addressed many of the foibles of the earlier NEX-series user interfaces, although some still remain. It's one heck of a package, and as such, I'm afraid this is going to be an unusually long Field Test.
In my opinion, it's a pretty significant advance in camera control, and there's a lot to describe, so this will be an unusually long review section. While pretty compact, the NEX-7's grip design is comfortable even for those with larger hands.
I'll start with how the NEX-7 generally feels in the hand, which is very good indeed. I found the front grip quite comfortable, despite the camera's small overall size: The shape of the grip encourages your middle finger to lay down parallel to the camera body, and there's enough space there for even relatively large fingers.
Held like that, your index finger is perfectly positioned over the shutter button, and drawing it back slightly positions it directly above the top-panel function button. Here's an example of the subtleties of camera design: The function button is located towards the front of the grip, rather than centered front to back on the grip as the shutter button is. It turns out that it's positioned right on the line that your index finger most naturally follows when withdrawing from the shutter button.
Further back on the body would have meant a more awkward reach and a cramped feeling: One of those things you don't think about, but that can make the difference between a camera's being a pleasure or pain to use.
The most natural grip position leaves your thumb perfectly poised between the two top Tri-Navi control dials. On the back panel, the slight protrusion of the thumb rest leaves your thumb roughly centered between the two top Tri-Navi control wheels, and it's a short, comfortable reach to hit the dedicated movie recording button.
The reach down to the rear-panel control dial isn't as easy, really requiring a two-handed grip on the camera. We didn't find this a problem, though, as the most frequently-accessed functions were mapped to the top dials, and we almost always find ourselves holding cameras with both hands anyway. The rear dial really requires you hold the camera in front of you, but the two-handed grip the NEX-7 naturally encourages makes this fast and easy.
With all the buttons and dials located on the right side of the camera, your left hand can be dedicated to providing support and adjusting the zoom or focus settings.
In practice, this made accessing all the right-side controls very natural and fluid. We also found it relatively easy to manipulate the various settings with our eye held to the eyepiece: The combination of the front function button and the Tri-Navi controls on top and back let us adjust things like HDR settings or white balance tweaks without losing sight of our subject.
Very nice. As wildly successful as the NEX-5 was, it's no secret that many enthusiast users were frustrated by its "beginner-friendly" user interface.
With the NEX-7 aimed squarely at the enthusiast crowd, Sony went out to develop an entirely new user interface better matched to enthusiast's desires. Calling the result the "Tri-Navi" interface, I think they've done a pretty good job. At the core of the NEX-5's interface problems was a simple paucity of buttons.
Feeling that too many buttons would confuse the novices and digicam-upgraders the NEX-3 and NEX-5 were aimed at, Sony gave users only three to control the camera with. Everyone at IR had sore thumbs the day after the NEX-5 arrived, from incessant fiddling with the single control wheel. With the NEX-7, Sony has decisively addressed this problem, adding two more control dials on top of the camera and extra button and lever on the rear panel. At the heart of the Tri-Navi interface are three control dials; the two new ones mounted edge-on at the camera's top, plus the rear dial familiar from earlier NEX models.
Together they form a very convenient and flexible user interface that turned out to be even more effective in live shooting than was conveyed in pre-release presentations. In our NDA briefings, Sony made quite a big deal out of the Tri-Navi interface, to which we frankly had a somewhat jaundiced view: After all, we've heard many times about some "revolutionary" feature or interface that turned out to be considerably less so in practice.
In the case of the Tri-Navi control scheme, though, once we got down to live shooting with the camera, we realized that the hyped presentations actually didn't do it justice. Tri-Navi Interface. The two dials on the top right of the camera seen here edge-on and the familiar control dial on the rear panel form the heart of the new "Tri-Navi" user interface.
Shown here in Aperture Priority mode, the two top dials control aperture and exposure compensation Av and Ev , while the rear dial manages ISO and the center button switches between exposure modes. Click on the image for a larger version. By default, the two top dials control exposure; aperture, shutter speed, or exposure compensation, depending on the exposure mode you're working in.
Many Options. You can quickly choose between five different sets of controls for the Tri-Navi interface. As noted, you can cycle through five different sets of options for the Tri-Navi controls. Exposure settings are always at the top of the list, but the others are programmable.
The diagram below shows the defaults for the other four option sets. Option Round Robin. This particular shot shows the D-Range settings seen in the photo above, in their place in the rotation. You can choose from a total of six options, to fit into the four non-exposure "slots" in the rotation. Click the picture to see the larger version of this image; it just didn't crunch down to pixels wide all that well.
Sony's done a great job of making the Tri-Navi interface configurable. You can select from a total of six different options for each "slot" in the round-robin of choices accessed via the Navigation button, and one available option is "none.
For instance, if you didn't often use the D-Range or Creative Style settings, you could eliminate them from the rotation, so you'd only have three options to cycle through to get to any one of them. This may seem like a small point, but it impressed us with the thought Sony into the interface design. Sometimes less is more, and recognizing this speaks to a deeper understanding of how people actually shoot than we often see expressed in many product designs.
The default assignments for the three Tri-Navi dials change depending on the shooting mode you're in. Here's a table listing assignments for each dial in each major camera mode:. In Custom mode, you can assign any of 9 functions plus "Not Set" to any of the three dials. The only restriction is that you can't assign the same function to more than one dial. The nine functions that can be assigned to the control dials via the Custom option are:. In actual practice, we found ourselves most often using and loving the basic exposure adjustments available in the Tri-Navi settings by default.
As we became more familiar with the camera, though, we ventured deeper into the Tri-Navi world and were deeply appreciative of how quickly and easily we could do things like white balance tweaking or HDR setup that formerly would have required an extended trip into the menu system.
Thanks to the flexibility of the Tri-Navi system, the NEX-7 is a camera that richly rewards extended use and familiarity: As easy as the various options are to get to, it can take a little time to wrap your brain around all that's available.
As you spend time with it, though, you come to really appreciate the power it puts at your fingertips. In some ways, the extent to which the NEX-7 rewarded time spent with it harkened back to its distant roots in the Minolta line, particularly the Konica Minolta Maxxum 7D. While the A65 has a great user interface very much in the upper tier of digital SLRs I've shot with , as the day wore on, I found I had to force myself to take an equal number of pictures with the A It was almost like when I was first transitioning to digital, and the immediacy of the digital experience made it hard for me to continue with my film bodies, even though at the time film held the quality edge.
This was in the distant prehistory of digital photography. The Tri-Navi interface was such a liberating, creatively productive interface that I was loathe to return to the more conventional DSLR world after using it. Fair warning; once you try it, Tri-Navi may well spoil you for any other camera. Lest I sound entirely like a commercial for Tri-Navi, I should point out that there are still areas where there's room for improvement.
They're all relatively minor niggles, but a typical example is the screen for tweaking color balance. In this mode, the upper left wheel selects the white balance mode Auto, Daylight, etc. My niggling complaint comes in there being no way to quickly restore the tweak adjustments to their neutral values; you have to adjust the setting of each axis back to zero using the dials.
At the same time, the function button below and left of the rear dial is completely unused. Why not use it as a "return to zero" button? It has exactly this sort of use when setting Flexible Spot autofocus. The same viewfinder element is used in the Sony Alpha A77 and A65 models. It has a reasonably high eyepoint, so is usable with eyeglasses, despite the huge image it presents. The viewfinder image itself is huge, yet there's still room around the edges for very clear data readouts.
Less Info than A We liked the huge amount of information you could display in the Sony A77's EVF, so were a little disappointed by how much less the NEX-7 had on offer. Not bad, but not the wealth of info found in the A The histogram and grid displays seen here are optional. The first thing that strikes you about the TruFinder is how big it is.
If you're used to shooting with normal subframe SLRs, you're in for a pleasant surprise the first time you look through the one. It's really more a size you'd expect to see on a high-end full-frame SLR selling for thousands of dollars more.
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