While the exposure mode is selected by just a button push and a quick flick of any one of the Tri-Navi dials, the main menu isn’t particularly intuitive or, easy to navigate and selection requires multiple button pushes. Certain features aren’t grouped logically, adding to the problem of navigation generally. The NEX-5n is the same, but the touch sensitive panel of that model helps with selections. Oddly, the NEX-7 dispenses with that but retains the same highly detailed pull-out 16:9 aspect 3-inch LCD panel that’s essential for waist level stills and video capture. By default, movies occupy only a part of the screen, which seems an odd choice but at least there’s an option to utilize the whole of the screen’s real estate, even if it isn’t immediately apparent from the menu.
The large built-in handgrip is the best of the mirrorless models, including the Panasonic Lumix GH-2, the nearest rival in terms of stills and video capabilities. A dedicated video capture button perilously placed on the thumb-grip to the rear is easy to activate accidentally but doesn’t detract from the exceptional video capabilities and high quality capture. Like the GH-2, the NEX-7 has full manual control of Av, Tv and ISO during video capture. Combined with the optional Focus Magnifier as well as the outstanding live focus peaking option, critical manual focus is easy to achieve using either Sony lenses or third-party optics with a mount adaptor. Autofocus is possible during video, and there are several choices available over the expected centre and multi-point options including face detection and focus tracking but in low light levels, whether for stills or video, the contrast detection based system struggles. Faster lenses mitigate this but AF operation is slightly behind the current Olympus PENs and Nikon 1 bodies.
Be that as it may, operation is swift, and shutter lag, when pre-focused, is lower than the Nikon D3s. Stills image quality is excellent but you’ll need the very best in optical quality and focus accuracy to achieve the sensor’s potential. In camera JPEG processing reveals slightly aggressive noise reduction even at lower ISO’s, reducing small structure detail somewhat but that’s not an issue when shooting Raw. The NEX-7 is capable of delivering hugely detailed files unmatched by rivals using an APS-C sensor, though the standard kit lens isn’t a particularly strong performer. Sony desperately needs to widen the E-series range adding more high-quality primes such as the superb Sony Zeiss 24mm f/1.8 Sonnar T*. While that is neither small nor cheap, it’s a great match for what it is, arguably, Sony’s finest camera to date.
Samples
London skyline, Primrose Hill, London. Sony NEX-7 and Zeiss 1,8/24 T* (35mm equivalent).
Regent's Park Road, London. Zeiss 24mm f/1.8 at f/1.8 - some slight longitudinal CA is noticeable in the out-of focus highlights but the lens is otherwise an excellent performer.
*Please note the Sony NEX-7 is region specific, so you can't switch a PAL version to NTSC to access 1080/60p/60i/24p unfortunately. If you work with both standards you'll need to source two bodies - please use our links below.
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