This time last year, Sony debuted the Alpha NEX-5N, and earned itself close to full marks in its CNET review. Keen to repeat the performance, it's followed up with the NEX-5R, which retains the 5N's headline specs, with E-mount lenses, an articulated screen and the same 16.1-megapixel resolution.
This time around though, it also boasts Wi-Fi for easy image uploads, phone-based remote control and even downloadable camera apps.
Specs and Build
Outwardly, little has changed. The body looks like it's fallen out of the same mould, and the kit lens still sports the close to de-facto 18-55mm range, equivalent to 27-82.5mm on a regular 35mm camera.
Maximum aperture at wide angle is F/3.5, and at full telephoto it's F/5.6, with minimum aperture ranging from F/22 to F/32 depending on the level of zoom -- a very decent range. Zooming is fully manual, although there's a powered lens if you prefer, and you can take focus in hand, too, with a manual focus ring at the front of the barrel.
It's not all about the hardware, though. The on-screen menus are colourful and inviting, and easy to find your way around. There are five display options ranging from the bare minimum of shooting data to a boggling array that includes pretty much every configurable setting you might want to know about. Mixed in among them is a built-in level, which shows not only when you're tilting the body up or down but left to right, too.
The 5R's bragging point is its built-in Wi-Fi, which allows you to play back your photos on an iPhone or Android device.
More interestingly, it also lets you download new features direct to the camera from the Sony PlayMemories site. These include several free options like the smart remote for taking photos from your phone -- which are then saved both in their full resolution to the camera's media card and in cut-down form to your phone's memory -- and a direct upload tool for sharing photos over the Internet.
The two most compelling features however -- Bracket Pro and Multi Frame Noise Reduction -- each cost £3.99. Bracket Pro lets you bracket photos by shutter speed, aperture,
focus or flash, and Multi Frame Noise Reduction, which features on the
high-end Alpha SLT cameras, lets you shoot several images in low
light which are then combined to create a high sensitivity equivalent
image with low noise.
Downloading a free application to the camera from the PlayMemories site lets you use your smart phone -- here, an iPhone -- to control the camera remotely. Sadly, you don't see any of the camera's shooting information replicated on the smart phone display.
Installing an app is easy, so long as you have a PlayMemories account, and it's done straight from the camera's LCD. I found connecting to a wireless hub to be more tricky though. I have three networks running at home and it took 10 minutes of entering passwords and trying different access points until I could get the NEX-5R to fix on any one of them. Once it had done so, however, things went smoothly and it maintained a steady fix on the signal.
I performed my tests using a mixture of intelligent auto and aperture priority modes and set the NEX-5R to record raw files with JPEG sidecars. I used the raw files for analysis after converting them to digital negatives using Adobe Lightroom's default import settings.
Even before downloading them, it was obvious from the LCD that the 5R produces punchy, impressive colours. Blue skies and green grass were very attractive and particularly enticing.
Differentiation between similar tones was clear, and the finished images were, on the whole, full of detail and texture.
In those frames where there was less detail to be brought out of the image, the 5R ably gradated similar tones for a smooth result. Take a look at the image below for an example of this. The largely featureless walls are smoothly graduated and it's easy to make out where the corner sits even without reference to the skirting.
It takes extreme contrasts easily in its stride, and shooting in raw meant I was able to recover a lot of detail in post-production that appeared at first sight to have been lost. For example, in the image below, the point of focus was the window at the centre of the frame. Because the camera metered for the light at this point the surrounding areas are far darker. Lifting the shadows in post-production however, without touching the highlights reveals the full detail of the walls and woodwork.
When examining the corners of the frame though, there was some falloff in the level of focus in comparison to that seen in the very centre. This is not unusual, and is caused by the degree to which the light must be bent to meet the sensor when entering the lens at that point.
In choosing to stick with a fairly conservative resolution on a generously proportioned sensor, Sony has ensured that the NEX-5R performs well in low light. The image below was shot with minimal overhead lighting, causing the camera to increase its sensitivity to ISO 3,200.
As you can see from the image, there is grain across the frame, but it is even and light and doesn't greatly disturb the underlying textures in the picture, so the bricks in the wall and the cabling running across the ceiling of the tunnel remain clear and true to the originals.