By DAVID POGUE
Published: November 23, 2011
The latest in technology from the Times’s David Pogue, with a new look.
Samsung's NX200 has manageable on-screen controls.
And if you’re a camera buff, you can give thanks for the arrival of three of the best cameras ever made: the Sony NEX-7, the Samsung NX200 and the Canon S100.
Why are these cameras so spectacular? Because they provide the best possible photos from the smallest possible device. They’re not about goofy gimmicks; they’re about putting bigger image sensors into smaller bodies.
Sony’s year-old NEX series has turned a lot of heads and sold a lot of cameras. The daring concept: Stuff a pro-size sensor (APS-C size, the same thing you’d find in, say, a Canon Rebel) into a camera whose body could fit in a jeans pocket.
Even with the lens on, the result is half the size and weight of a traditional S.L.R., while producing the same stunning photographic results. (The NEX cameras are even smaller than the popular Micro Four Thirds cameras from Panasonic and Olympus — yet the sensor is 60 percent bigger.)
Now, there have always been sacrifices. On all previous NEX models, you lost the built-in flash. You lost the eyepiece viewfinder, too — you had to compose your shot using only the screen. And you lost a good deal of usability; with so little room for physical buttons, the NEX cameras required crushingly inefficient on-screen controls.
“Look, we know it’d be pricey,” moaned the tantalized photographic masses. “But what if we said ‘Price be damned’? Couldn’t you put in a viewfinder, a flash and some physical controls? That’d be the ultimate!”
And lo, Sony went back to the drawing board and came up with the NEX-7, whose arrival in the United States has been delayed by floods in Thailand. (Sony says it’s working around the clock to get the manufacturing up to speed.) It really is shockingly pricey: $1,200 for the body alone, $1,400 with a 3X zoom lens. But for the deep of pocket and the high of passion, it really may be the ultimate.
This camera is gorgeous. Black metal, like something James Bond might carry. Yet here is, yes, a built-in pop-up flash. It won’t exactly illuminate a football stadium, but it’s fine for subjects up to about eight feet away.
More important, there’s now an eyepiece viewfinder. It’s an electronic type — you’re not peering through glass, but rather into a tiny screen — but it’s amazing. It’s the sharpest, clearest electronic viewfinder you’ve ever used. With three times the number of pixels that the usual LCD viewfinders have, looking at it comes breathtakingly close to looking through a pure glass viewfinder. Yet it has all the advantages of electronic; for example, you get to see the effects of your settings changes before you snap.
And yes, there are more physical controls. There are, in fact, three control wheels, ingeniously and conveniently placed, and you can assign useful simultaneous functions to them. For example, in manual mode, one can control aperture, another shutter speed, a third ISO (light sensitivity). Imagine being able to adjust all of those settings on the fly, without having to open a single menu — or even take the camera away from your eye. Fantastic.
There are now nine lenses available for the NEX series: macro, fisheye and telezoom among them. One of them is available only with the NEX-7: a gorgeous, matching, $1,000, nonzooming f/1.8 Zeiss lens. That f/1.8 business means it lets in a lot of light and creates a deliciously blurred background.
The NEX-7 is an astonishing piece of engineering. Its screen tilts up or down for easier angles. It takes magnificent 24-megapixel photos under almost any conditions. It’s infinitely customizable (and a lot to learn).
It also preserves the most frustrating quirk of its NEX siblings: you still can’t change modes, even from Auto to Program, without diving into the on-screen menus. That’s a particularly inefficient if you love to jump in and out of Sony’s amazing Sweep Panorama mode.
Sony’s year-old NEX series has turned a lot of heads and sold a lot of cameras. The daring concept: Stuff a pro-size sensor (APS-C size, the same thing you’d find in, say, a Canon Rebel) into a camera whose body could fit in a jeans pocket.
Even with the lens on, the result is half the size and weight of a traditional S.L.R., while producing the same stunning photographic results. (The NEX cameras are even smaller than the popular Micro Four Thirds cameras from Panasonic and Olympus — yet the sensor is 60 percent bigger.)
Now, there have always been sacrifices. On all previous NEX models, you lost the built-in flash. You lost the eyepiece viewfinder, too — you had to compose your shot using only the screen. And you lost a good deal of usability; with so little room for physical buttons, the NEX cameras required crushingly inefficient on-screen controls.
“Look, we know it’d be pricey,” moaned the tantalized photographic masses. “But what if we said ‘Price be damned’? Couldn’t you put in a viewfinder, a flash and some physical controls? That’d be the ultimate!”
And lo, Sony went back to the drawing board and came up with the NEX-7, whose arrival in the United States has been delayed by floods in Thailand. (Sony says it’s working around the clock to get the manufacturing up to speed.) It really is shockingly pricey: $1,200 for the body alone, $1,400 with a 3X zoom lens. But for the deep of pocket and the high of passion, it really may be the ultimate.
This camera is gorgeous. Black metal, like something James Bond might carry. Yet here is, yes, a built-in pop-up flash. It won’t exactly illuminate a football stadium, but it’s fine for subjects up to about eight feet away.
More important, there’s now an eyepiece viewfinder. It’s an electronic type — you’re not peering through glass, but rather into a tiny screen — but it’s amazing. It’s the sharpest, clearest electronic viewfinder you’ve ever used. With three times the number of pixels that the usual LCD viewfinders have, looking at it comes breathtakingly close to looking through a pure glass viewfinder. Yet it has all the advantages of electronic; for example, you get to see the effects of your settings changes before you snap.
And yes, there are more physical controls. There are, in fact, three control wheels, ingeniously and conveniently placed, and you can assign useful simultaneous functions to them. For example, in manual mode, one can control aperture, another shutter speed, a third ISO (light sensitivity). Imagine being able to adjust all of those settings on the fly, without having to open a single menu — or even take the camera away from your eye. Fantastic.
There are now nine lenses available for the NEX series: macro, fisheye and telezoom among them. One of them is available only with the NEX-7: a gorgeous, matching, $1,000, nonzooming f/1.8 Zeiss lens. That f/1.8 business means it lets in a lot of light and creates a deliciously blurred background.
The NEX-7 is an astonishing piece of engineering. Its screen tilts up or down for easier angles. It takes magnificent 24-megapixel photos under almost any conditions. It’s infinitely customizable (and a lot to learn).
It also preserves the most frustrating quirk of its NEX siblings: you still can’t change modes, even from Auto to Program, without diving into the on-screen menus. That’s a particularly inefficient if you love to jump in and out of Sony’s amazing Sweep Panorama mode.
The Sony NEX-7 is costly but improves on previous NEX models.
Canon's S100 has the biggest possible sensor.
Now, the NEX-7 may be the most lusted-after camera of the year, but you can get much of what it offers in less luxurious packages. Take the NEX-5N, for example. For half the price ($700 with 3X lens), this 16-megapixel model shoots the same 10 frames a second (as long as it doesn’t have to refocus) and records the same gorgeous 1080p hi-def video. It has a touch screen but no flash, and a clip-on version of that amazing OLED viewfinder. It, too, is still hobbled by the clumsy mode-switching system, though.
Fortunately, there’s an alternative: The Samsung NX200 ($900 with 3X lens). Like the NEX models, this camera has a pocketable body, yet contains a full APS-C sensor inside; it, too, takes sensational pictures and 1080p videos. But here, the on-screen controls aren’t a liability — they’re the best part. For example, one button press summons the Smart Panel: a grid of 16 setting options that you can change with a quick turn of a dial. Many of the Samsung’s 10 available lenses offer an iFunction button right on the barrel — one press lets you change a setting of your choice, like aperture, shutter speed, exposure adjustment and so on.
The NX200 can shoot 30 pictures a second at 5 megapixels each, or seven photos a second at the camera’s full 20-megapixel resolution. And it offers (hallelujah!) the same sweep-panorama feature that Sony cameras do so beautifully.
Unfortunately, here again there’s no built-in flash or eyepiece viewfinder. (A clip-on flash comes in the box.) And the lenses are big — bigger than Sony’s. In essence, though, you’re getting a package comparable to the Sony NEX-5N, but paying $200 extra for the superior menu system. Think hard about that choice.
The Sony and Samsung cameras are fantastic micro-S.L.R. cameras, but their lenses keep them from being pants-pocketable. So far, physics have rendered it impossible to put a full-size sensor into a coat-pocket camera.
Instead of having a full-size sensor in the smallest possible body, Canon’s new S100 contains the biggest possible sensor in a pocket-size body. Like its amazing predecessors, the S90 and S95, you’d never know that this sleek, black, metal compact is hiding a sensor with 88 percent more area than most pocket cameras’ sensors. And it has an f/2.0 lens, a rarity among pocket cameras, which offers you better low-light shots and, sometimes, that blurry-background effect.
(Unfortunately, you get f/2.0 only at the camera’s impressively wide-angle 24mm position. As you zoom all the way to 5X, you drop to a disappointing f/5.9.)
This camera costs more than double the usual pocket camera price ($430), but its picture quality blows other cameras off the map.
What’s new in the S100? Speed. A new processor that can pop off eight frames in a second or deliver 120-frames-a-second slow-motion movies. A new 14-megapixel sensor that does better in low light. You can now zoom in while you’re shooting video. Since this camera also packs a 5X zoom and captures 1080p video with stereo sound, there are even fewer reasons to own an actual camcorder anymore. More to love: a digital neutral-density filter that cuts down light in superbright scenes; the famous lens ring (controls your choice of setting — exposure, aperture, shutter speed, whatever), and a GPS chip that location-stamps each photo.
As with its predecessors, the painful price you pay for all of this magic (in addition to the steep financial price) is battery life. You get only 200 shots on a charge, which is rock-bottom for cameras. Carry a spare.
But holy cow — what a photographic instrument! What color, clarity, tonal range! There are days when the S100 seems incapable of muffing a shot.
Like the Sony NEX-7, Sony NEX-5N and Samsung NX200, the S100 delivers picture quality that used to require much bigger, bulkier, heavier cameras. Let us give thanks for that.
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The NX200 can shoot 30 pictures a second at 5 megapixels each, or seven photos a second at the camera’s full 20-megapixel resolution. And it offers (hallelujah!) the same sweep-panorama feature that Sony cameras do so beautifully.
Unfortunately, here again there’s no built-in flash or eyepiece viewfinder. (A clip-on flash comes in the box.) And the lenses are big — bigger than Sony’s. In essence, though, you’re getting a package comparable to the Sony NEX-5N, but paying $200 extra for the superior menu system. Think hard about that choice.
The Sony and Samsung cameras are fantastic micro-S.L.R. cameras, but their lenses keep them from being pants-pocketable. So far, physics have rendered it impossible to put a full-size sensor into a coat-pocket camera.
Instead of having a full-size sensor in the smallest possible body, Canon’s new S100 contains the biggest possible sensor in a pocket-size body. Like its amazing predecessors, the S90 and S95, you’d never know that this sleek, black, metal compact is hiding a sensor with 88 percent more area than most pocket cameras’ sensors. And it has an f/2.0 lens, a rarity among pocket cameras, which offers you better low-light shots and, sometimes, that blurry-background effect.
(Unfortunately, you get f/2.0 only at the camera’s impressively wide-angle 24mm position. As you zoom all the way to 5X, you drop to a disappointing f/5.9.)
This camera costs more than double the usual pocket camera price ($430), but its picture quality blows other cameras off the map.
What’s new in the S100? Speed. A new processor that can pop off eight frames in a second or deliver 120-frames-a-second slow-motion movies. A new 14-megapixel sensor that does better in low light. You can now zoom in while you’re shooting video. Since this camera also packs a 5X zoom and captures 1080p video with stereo sound, there are even fewer reasons to own an actual camcorder anymore. More to love: a digital neutral-density filter that cuts down light in superbright scenes; the famous lens ring (controls your choice of setting — exposure, aperture, shutter speed, whatever), and a GPS chip that location-stamps each photo.
As with its predecessors, the painful price you pay for all of this magic (in addition to the steep financial price) is battery life. You get only 200 shots on a charge, which is rock-bottom for cameras. Carry a spare.
But holy cow — what a photographic instrument! What color, clarity, tonal range! There are days when the S100 seems incapable of muffing a shot.
Like the Sony NEX-7, Sony NEX-5N and Samsung NX200, the S100 delivers picture quality that used to require much bigger, bulkier, heavier cameras. Let us give thanks for that.
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