How To Use An Aps-c Sony Mount E Lens On A Full Frame Sony Camera Body

Items on same line indicate model updates. Different lines betoken varying model levels. Bold is electric current model.

Sony has pretty much confused anybody at some betoken with its ever-changing mirrorless lineup. Nosotros have had proper name changes, multiple mounts, different sensor sizes, fast updates, no updates, and even more to fence with.

Sony introduced its first mirrorless cameras after m4/3, simply not long afterwards. The original NEX-3 and NEX-5 models appeared in Spring of 2010 and established what is at present a broad line of mirrorless products. Indeed, Sony uses the Eastward-mount that was introduced with the NEX-3 and NEX-5 for a wide range of both withal and video cameras.

However, Sony dropped the NEX name in late 2013 and at present calls everything Alpha. Plus they came out with a full frame sensor mirrorless organization (FE mountain) that is a kissing cousin of the original (E mount). Then we have some explaining to exercise.

Generational 411
In the still realm, nosotros at present have vi generations of mirrorless models from Sony:

• First Generation: NEX-iii, NEX-5
• Second Generation: NEX-3C, NEX-5N (5N added an external EVF pick)
• Tertiary Generation: NEX-F3, NEX-vii (vii added an internal EVF and more controls)
• Third-and-a-half Generation: NEX-3N, NEX-5R, NEX-six (Normally these might be considered 3rd generation, but the addition of Wi-Fi and/or PlayMemories Apps sets them autonomously every bit a distinct new breed)
• 4th Generation: A3000, A5000, A6000 supplant the NEX (APS sensor) models, A7, A7R, A7S add new Atomic number 26 mount models
• Fifth Generation: A7 Marking Two, A7R Marker Ii, A7S Mark II, A6300
• Sixth Generation:A6100, A6400, A6500, A7m3, A7Rm3, A9, A7C

We also take a plethora of Sony dedicated video cameras that use the E-mount: VG-10, VG-20, VG-30, VG-900, EA-50U, FS-100, FS-700, FS5, FS7, and FX-9 to name only a few. These range from camcorder like models (VG serial) to destined-for-Hollywood models (FS7, now Mark Ii), with many other video variations in the center. Personally, I approve of this kind of bifurcation, but but if the still cameras continue to emphasize still features and ergonomics (with video on demand) and the video cameras emphasize video features and ergonomics (with stills on demand). So far, then good.

As with well-nigh systems, higher numbers inside a fixed digit realm tend to indicate more than capability. Nosotros had 3, 5, 6, and 7 in the NEX model lineup, but this has inverse to names such as A3000, A5000, and A6500 in the new lineup. Worse however, the A3000 (and A3500 in Commonwealth of australia) was a different style than the NEX models and the A5000 and A6000 that replaced them. The A7 and A9 models are still a unlike style, likewise, being more DSLR-like than the A5000 and A6000. Then the A7C reintroduces the A6xxx style, only for full frame.

The full frame A7 went through a bit of a transition over fourth dimension. The A7 Marking II added a sophisticated sensor-based IS system and refined the body pattern from the original. These changes and then were rolled through the entire line, then equally I write this, all the A7 models have sensor-based IS. Two of them have been iterated to Mark Iii, which changed the bombardment and another aspects of the photographic camera, while one has fabricated it to Mark Iv. Plus now we have a new top full frame model in the A9 Mark II, which is intended to claiming Canon and Nikon'southward acme DSLRs.

The Sony Uniqueness
From the get-go, the large depict to the original NEX serial was the employ of Sony EXMOR APS sensors (Super35 sensors for many of the video models). That excitement was doubled with the introduction of the A7 models with full frame EXMOR sensors, and in some cases EXMORs with new and interesting technologies (e.thou. dorsum side illumination, or BSI, and eventually the stacked sensor on the A9). All else equal, a bigger sensor does accept benefits in depression calorie-free and in providing potentially shallower depth of field. The downside is that a bigger sensor tends to require bigger lenses, too.

Which brings up one of the cognitive dissonances in the Sony designs: the camera bodies are exceedingly small (even the full frame A7 models, and fifty-fifty after they got a bit of a size boost in the tertiary generation to accommodate a bigger battery and a larger mitt grip). Some of Sony's A6xxx cameras are smaller than some m4/iii cameras, which take smaller sensors.

Yet the lenses are DLSR-sized for the most function, and that'due south particularly true for the full frame Alpha models (Iron mount). Those that think the old Sony R1 recollect the "all lens with a handle" pattern very well, and some of the Sony mirrorless models certainly echo that. This tends to pb to a left-hand-under-lens, right-paw on the grip shooting fashion, which isn't a bad idea (done right y'all'll further stabilize the camera/lens). Only non everyone likes that. Indeed, those seeking out mirrorless cameras considering they're small and low-cal tends to balk at the lens sizes with the A7 models as you become for fast lenses or long zooms.

The other aspect of the NEX-to-Blastoff change that was off-putting to some was Sony's changes in camera controls (UI). On the very original firmware for the NEX-3 and NEX-5, every command pretty much centered around iii buttons and 1 dial, and these were definitely not optimally configured. Firmware updates gave users customization options that pretty much ended most of the complaints, and subsequent models improved on it. Indeed, the NEX-5R, NEX-half-dozen, and NEX-7 all had plenty of straight user control and configuration, and while that was more "modernistic" than "traditional," I didn't have any existent problems with that pattern.

More recently, the 4th generation standardized on yet another Sony UI, this time derived from the RX1. I detect that current implementation of that UI the all-time even so, though the menus still tended to sprawl and could use fifty-fifty farther reorganization and clarity.  I applaud Sony for non just giving us the aforementioned old, same former, simply actually trying to put together something that's a little better for those willing to invest some learning time into it.

The bad news is that there hasn't been UI consistency from generation to generation of Sony mirrorless cameras.The A7S Mark III introduced an updated menu system with more than organization, but that hasn't made it through the lineup nevertheless. I hope that we've at present locked and loaded on a "concluding" overall solution, as that electric current UI is fine (though buttons tend to exist in poor positions and too pocket-size, and wording and abbreviation clarity still needs refining).

One highlight of the Sony mirrorless line has been sensors. These days we've got state-of-the-art 24mp APS-C sensors in the E-mountain cameras, and they perform remarkably well in low lite and are capable of very good resolution. In the full frame Fe-mount cameras, we've got 12mp, 24mp, and 60mp choices. These are essentially the same sensors or relatives to those in Sony's earlier DSLRs (and in some Nikon and Pentax DSLRs).

At that place's little to mutter virtually with the current EXMOR sensors; peradventure the one drawback being that they do tend to overheat in constant video or Live View utilise, specially in really hot atmospheric condition. But that'south a manageable problem for most.

My bigger complaint—and it should be every Sony A6### user's complaint—is still the available lens set for APS-C. Early on information technology was very tough slogging, with only the fairly poor 16mm f/2.eight plus the 18-55mm kit lens available for the E-mount. The kit lenses, even the new 16-50mm one, are kit lenses: decent but definitely not great.The 16mm, unfortunately, had a number of weaknesses (information technology's big plus was its small size).

Slowly we've gotten more E-mount lenses, but a Sony APS-C mirrorless user withal has nowhere near the choice an m4/three or Fujifilm user has right at present, and the gap isn't endmost very fast because Sony seems to have stopped added E-mountain lenses to concentrate on FE-mount lenses for the full frame mirrorless cameras.

With FE, the story is both better and worse. Originally we had four choices, ii primes that are terrific lenses, and 2 zooms that were more disappointing (even the Zeiss 24-70mm f/iv). This was afterwards augmented with many additional lenses, but many are the same size every bit DSLR lenses, so the small/light reward is disappearing for Sony Iron.

All the zooms (with the exception of the recent 10-18mm f/four E-mount, the collapsing xvi-50mm E-mount, and the 12-24mm f/four FE-mount) tend to exist fairly big, too, pregnant that if y'all opt for an all-zoom kit, you're going to be dealing with at least one or two DSLR-sized lenses. That's absolutely true if you opt for any of the f/2.8 FE zooms (sixteen-35mm, 24-70mm, and 70-200mm).

Overall, I'd say the FE side of the Sony lens equation is now quite good and gets better every quarter, peculiarly now that there's plentiful third-party support for the mountain. The E side, though, seems to accept stagnated and needs more attention.

Finally, note that Sony has introduced a few lenses that are primarily for video users (due east.g. the 28-135mm f/4). While you tin can apply these on the still cameras, they are clearly designed for video piece of work, with geared rings, truthful varifocal designs, etc. That tends to make them a bit big and beefy for all the same users.

Don't Go App (pronounced yep-p)
The NEX-5R and NEX-six introduced a feature that Sony calls PlayMemories Apps. This was nowadays in all fourth and well-nigh fifth generation Sony mirrorless cameras (A5000, A6100, A6300, A6500, and all A7 models until the Marking IIIs). The thought was audio, only it was completely unclear if the execution would always live up to the expectations. It looked like a Sony-originated and controlled play pen, and Sony needed to do a lot more than than they showed in society to brand this a reason to consider Sony mirrorless over another.

When Sony removed PlayMemories from the A7 Mark III models, the A9, the A6400, and later models. they didn't bring some of the function back to the camera (e.chiliad. Time-lapse). The Wi-Fi inclusion on all the recent cameras should be useful to some, however.

Further, now Sony's full developer kit for writing external apps for the cameras merely applies to the very latest models (A7C, A7S Marking III, A7R Marker IV, and A9 Marking Two).

Advice
First and foremost, make sure yous tin alive with the existing and known-to-be-coming lenses. If y'all can't, then Sony mirrorless isn't the arrangement for you. That'due south extremely truthful for the E-mount models (A5xxx, A6xxx);  the Atomic number 26-mountain models (A7, A7r, A7s, A9 in all generations) at present have an nigh complete lens set from very wide angle to moderate telephoto (specially if you count the Zeiss lenses). 3rd political party lens support has appeared for both mounts and it's helpful, just at that place are however a lot of lens gaps in the Sony mirrorless world.

These days you lot have two choices for cameras: APS-C or full frame sensor. While you tin can use E-mountain and Atomic number 26-mountain lenses on both types of cameras, and then far the Sony choices really don't make for a good mix-and-match system (e.g. 1 full frame body equally the main camera, an APS-C torso for backup). And so cull your sensor type beginning and foremost.

That also chooses a body blazon (DSLR-style) if you choose total frame. But if you choose APS-C, y'all accept to choose between arm's length type (A5xxx), or small rangefinder type (A6xxx).

Personally, the sugariness spots of the Sony lineup for me are the A7 Mark Three (24mp full frame) and A6400 (24mp APS). Both are pretty aggressively priced, and highly competent. But if you're going all out, and so the A6500 and A7R Mark IV or A9 Mark 2 are the models you probably desire today.

Note: Sony has kept virtually all of the fourth and fifth generation cameras available as new even afterward launching the sixth generation. That means you have some excellent lower-cost options if you lot don't heed going back a generation or two. The original A6000 and A7 that kicked off the 4th generation are both decent cameras, though not at the levels of the current ones. Just you can observe them at extreme discount, so information technology'due south 1 way of sampling the Sony systems without committing large sums of money.

Thom's Experience
I've been shooting with the Sony mirrorless cameras from the showtime. I have a lot of backside-the-camera time on the NEX-v, NEX-6, NEX-7, A6000, A6300, and A7/A7S/A7R,  A7 Mark Three, A7R Marking Two, A7R Mark Iii, A7R Marker IV, and A9 Mark 2. I ain an A7R Marking IV and a basic set of very adept Sony lenses.

My problem has been and continues to be lenses for the APS-C cameras. The E-mount deserves more pro-quality lenses. It has one from Sony (the 24mm Zeiss). But Sony really could use many better lenses on the APS-C side, peculiarly at the broad angle end. Samsung's 16mm f/two.5 for their NX (not to be confused with the at present-defunct NEX name ;~) system far outshines the Sony 16mm f/2.eight, only is about the aforementioned size. So yous tin make excellent performing small lenses for the APS-C sensors, Sony only hasn't opted to practice so.

If 19mm or 30mm are to your liking, yous can mitigate Sony'due south lack of small, top performing primes somewhat by opting for the original Sigma NEX lenses: they're skilful, maybe very practiced, though non exceptional (and now difficult to find). They're both far better performers than Sony'south 16mm. Fortunately, Zeiss has high-cease Touit lenses that perform very well for Eastward-mount, plus at least two other makers have announced similar plans. If you're patient, more lenses are coming, and not too far out.

Full frame (A7 and A9) model users volition detect much better lens support, though maybe not every focal length and aperture combination they want, peculiarly in the telephoto range. Equally I noted, the ii original primes (35mm, 55mm) are exceptionally good, the original zoom (28-70mm) just decent. The f/four zooms are a mixed bunch: the 12-24mm is practiced, 16-35mm is skillful, the 24-70mm poor, and the 70-200mm very good. The f/2.eight zooms (16-35mm, 24-70mm and 70-200mm) are all excellent, but big. The Zeiss Batis and Loxia series are where you probably volition discover the prime lenses you want to fill your handbag, but they tin exist pricey.

• Sony mirrorless camera database
• Sony mirrorless photographic camera reviews
• Sony East-mount lens database
• Sony FE-mount lens database
• Sony lens reviews

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Source: https://www.sansmirror.com/articles/the-mirrorless-systems/system-guides/a-guide-to-nex.html

Posted by: leeholoy1948.blogspot.com

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