The new XQD memory card format will replace CompactFlash in pro SLR and video cameras

The CompactFlash Association announced a new media card format last month, and now Sony and Nikon have introduced the first media and digital cameras, respectively. But what exactly is an XQD memory card? Read on for the details.

A Different Type of Media for Different Type of Camera

XQD falls between SD and CompactFlash in physical size

Most consumers have grown used to the standard SD card for digital media. It is become ubiquitous in consumer and even semi-pro digital cameras, computers, and other devices from phones to game machines. SD (short for Secure Digital) is the descendent of the basic MultiMediaCard (MMC) format introduced in the mid-90′s. Like MMC, SD uses a simple and basic transfer mechanism rooted in the interface of flash memory chips themselves.

The SD card format has been continually updated and refined, culminating in the current SDHC and future SDXC formats used by the most advanced consumer cameras today. But SD has many limitations, and even the highest speed SD cards cannot meet the demands of fast shooting many-megapixel and pro video cameras.

Professional cameras, including full-frame digital SLR and high definition video cameras, typically use higher bandwidth formats like CompactFlash or P2. These cards may not seem all that impressive on paper, but their real-world performance justifies their extreme pricing. CompactFlash is based on now-outdated computer standards, including PCMCIA (16-bit ISA bus) and ATA, though in a smaller form factor. P2, the Panasonic format, also uses the 16-bit PCMCIA interface as well as its form factor.

XQD: A Next-Generation Memory Card Format

The new XQD card format is philosophically similar to CompactFlash in that it uses a high-speed computer bus rather than a flash interface. XQD adopts PCI Express version 2 for 2.5 Gbps throughput, with 5 Gbps promised in the future. The physical form factor falls in between CompactFlash and SD, and the CompactFlash Association suggests we will see terabyte-sized cards in the not so distant future.

Sony is first up with XQD card media, though Nikon has the first camera

XQD will likely see rapid adoption from CompactFlash adherents like Nikon and Canon. Sony appears to be getting on the XQD bandwagon as well, at least on the media side, and I expect that their future full frame cameras and pro video equipment we use the format. One expects Olympus, Fujifilm, and niche players like Sigma, Leica, and Hasselblad to join the XQD team as well. The big question is Panasonic, which seems satisfied with P2.

Although SDXC appears promising, implementation details have caused it to stumble out of the gate. The use of MBR partitioning limits capacity to “just” 2 TB, and not everyone loves the appointed exFAT filesystem. Plus, initial SDXC cards poke along even slower than conventional (and far cheaper) SDHC alternatives.

In contrast, Sony’s first batch of XQD cards are 4 times faster, allowing them to keep up with the punishing data rates generated by the new 16 megapixel Nikon D4 DSLR. With Sony set to introduce a 24 megapixel A99 and 36 megapixel hybrid mount full frame camera, it is very likely that this performance will come in handy!

Stephen’s Stance

XQD is complementary to SDXC, a high-bandwidth, high-capacity alternative for professional cameras. It is likely to be adopted by makers of professional or full frame digital SLR cameras, and one expects it to make a big splash in the digital video market as well. Future high megapixel prosumer cameras may feature both XQD and SDXC slots, giving consumers an alternative for maximum performance.

© sfoskett for Stephen Foskett, Pack Rat, 2012. | What Is an XQD Card? The New Media for Pro Cameras!
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How standard or proprietary a camera system is can attract or deter consumers.

Sony is not a company that is known for interoperability and compliance with standards. Quite the opposite, in fact, if one considers technologies like Memory Stick, Blu-Ray, and most every other development they have made in consumer electronics. But what about the NEX mirrorless cameras? How do they compare to similar offerings from other vendors?

You might also like reading my article, The Myths of Standardization as well as my full Sony NEX-5 Camera Review

Advanced interchangeable lens camera systems like the NEX from Sony are never entirely open or closed. Rather, they incorporate standards where they must and innovate everywhere else. Let’s consider the main components of interchangeable lens camera, and identify which generally are proprietary and which are standardized.

Widely-Standardized Camera Components and Connectors

Memory media is generally a standard format like SD, CompactFlash, or Memory Stick, though most cameras including the NEX are increasingly turning to SD and its derivatives. I simply would not have bought the NEX-5 if it was not 100% compatible with SD and SDXC cards like most low to midrange cameras on the market today. It’s nice that the NEX is also compatible with the line of Wi-Fi SD cards from Eye-Fi.

Audiovisual connectors are generally standardized, including HDMI for audio/visual (formerly S-Video and RCA) and TRS mini jacks for audio. Only the NEX-7 includes a standard microphone input, though all NEX cameras have a mini HDMI connector. The lack of a microphone input on my NEX-5 had been a great disappointment, leading me to pack a separate video camera.

Lens filters are broadly standardized in terms of diameter and thread pitch. The NEX cameras use the common but not ubiquitous 49 mm filter format. I have been able to buy third-party filters, including an inexpensive circular polarizer, without any trouble.

The industry-standard flash shoe	Sony’s iISO as on the NEX-7	The proprietary NEX flash mount

If a camera includes an accessory connector for a flash, it is generally the ancient U-shaped shoe first created by Leica almost a century ago. The NEX-7 includes the Sony/Minolta iISO hot shoe, while the other NEX cameras have a proprietary connector that also includes the microphone input. The slim NEX connector is a limiting factor to the lower and Sony cameras, but the iISO on the NEX-7 enjoys much wider support. I’m not troubled by the lack of a Leica-style hot shoe given the wide variety of iISO attachments.

Most cameras feature a standard tripod mount, though not all are optimally located. The Sony NEX line does indeed use the standard screw mount for tripod attachment.

Usually-Proprietary Camera Components

Some low-end cameras use a standard battery, but most high-end cameras use one of a number of batteries developed but their manufacturer. The entire NEX line uses the same Sony “intelligent battery” NP–FW50 cell, also shared with some Sony Alpha cameras. This battery technology is entirely proprietary, and Sony actively works to exclude third-party manufacturers. My own experience with “compatible” NEX batteries has not been positive.

With very few exceptions, camera lens mounting systems are proprietary to a single manufacturer and range of cameras. Sony’s E-Mount lens system is one of the defining elements in the NEX line, and the company has published mechanical and electronic specifications to allow the development of third-party adapters and lenses. While not cross-corporate like the Micro Four Thirds system, the E-Mount is about as open and standardized as any other lens system.

The availability of lens adapters is a revelation for long-time SLR users, and one of the main attractions of mirrorless camera systems like the NEX and Micro 4/3. The fact that such adapters are not yet available for the Nikon 1 (apart from Nikon’s own F-Mount) likely turns away some prospective customers. By opening their lens specifications, Sony and Panasonic/Olympus have given consumers a marvelous boon.

Stephen’s Stance

The NEX-7 is less proprietary than the earlier NEX cameras, certainly on par with its competition.

The Sony NEX line is not as open as it could be, but the NEX-7 addresses many of the shortcomings found in earlier cameras. The addition of a standard microphone input as well as the adoption of the widely accepted iISO flash attachment are welcome changes. But it is the broad availability of third-party lenses that really makes the NEX and Micro Four Thirds systems shine.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Is the Sony NEX Camera System Excessively Proprietary?
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Learn to drive a Ford Model T and you will be amazed how automobile controls have progressed! It looks similar but it's totally different from today's cars.

“The nice thing about standards is that you have so many to choose from.” Andrew Tanenbaum’s statement may be a cynical and dismissive, but it’s not far from the mark. Indeed, there are a great many standards, perhaps as many as there are efforts to standardize the world around us! But what good are standards, really?

The 3 Standard Types

In technical fields, standardization is a process of establishing a specification, definition, or procedure that is generally applicable. In other words, a standard is the exact opposite of a one-off or proprietary item.

End-users and vendors often clamor for standardization, though not usually for the same reasons:

• End users like standards because they promote options and tend to drive down costs
• Incumbent vendors like standards that give them control over the market or competitors, while challengers prefer “open standards” that allow them entry

Not all standards are created equal, however. Some are designed to be open and free to use, while others simply fall into widespread use. Some are designed by committee, while others are driven by a dominant player in the market. Generally, standards fall into one or more of the following categories:

• De facto standards emerge “accidentally” as they become used more and more broadly. In many cases, companies are hesitant for their developments to become de facto standards, since they may lose control of the market and usage of their products.
• De jure standards are legally binding requirements from contracts, laws, or regulations. These are quite rare, and often adopted only when absolutely required to ensure safety or avoid major market upheaval.
• Other standards are made available on a voluntary basis, in hopes that they will be used. Whether designed by a committee or a single entity, voluntary standards usually serve to encourage market development.

Whose Standard Is It?

When considering one standard or another, it’s important to keep in mind it’s origin. Sony’s Memory Stick, the Blu-Ray disc, the Apple dock connector, the Microsoft Windows API, and so many more were all developed to lock in licensing and product revenue. Although it is beneficial to consumers to have standard camera media, multimedia discs, and such, these were not developed solely with the interests of consumers in mind.

Automobiles present an interesting case in standardization. It may come as a surprise to the uninitiated, but nearly every part of the car is proprietary, right down to the control mechanisms we take for granted while driving. Certain elements (seatbelts, windshield wipers, and the gasoline fill valve) are indeed de jure standards, but most everything else is subject to the whims of each manufacturer. Think of how difficult it is to operate the air conditioning or set the cruise control in a rental car. Then go to the auto parts store and see just how many different air filters they stock!

Consumers generally benefit when broadly accepted standards emerge, regardless of the origin. The Edison screw base on a lightbulb, for example, was developed to encourage a market for electric light fixtures but also to secure licensing revenue for the Edison company. In contrast, the “flash shoe” found the top most high-end cameras developed accidentally and incrementally over the last century. Both are now de facto standards out of control of their originators, but despite major shortcomings the value of interchangeability has made them commonplace.

Stephen’s Stance

I certainly benefit from standardization of the world around me, and I welcome interoperability and interchangeability as well as the price and product selection advantages. But I am not blithely focused on standardization above all else. I will happily use a proprietary solution if the alternative is inelegant, ineffective, or insufficient.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | The Myths of Standardization
This post was categorized as Apple, Computer History, Features, Personal, Terabyte home. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

The Sony VCL-ECU1 Ultra Wide Angle Converter is a handy addition for the NEX camera owner, but it's definitely not a necessity!

The Sony NEX camera system has pleased admirers with its high-quality and compact size. But just a few lenses have been released even after a year on the market. One way to make a small selection of lenses go further is to offer secondary lenses that can add flexibility to the primaries, and this is what Sony has done with the VCL-ECU1 Ultra Wide Angle Converter. It attaches to the front of the 16 mm pancake prime, turning it into a 12 mm ultra-wide angle lens without significantly affecting light transmission or sensitivity. I picked up a VCL-ECU1 at B&H Photo in New York last week, and am pleased to report that it greatly enhances my enjoyment of the 16 mm prime lens.

Lenses Needed

You’d probably also enjoy my complete Sony NEX-5 Camera Review

Although I love my Sony NEX-5 camera, I rarely use the 16 mm “pancake” prime lens I purchased for it. Although reasonably fast (ƒ/2.8) and pocketable, the 16 mm lens always seems too wide for on the go snapshots. And considering that the kit zoom starts at just 18 mm (and ƒ/3.5), I usually reach for that lens instead thanks to its versatility. After all, if you can only have one lens with you, it makes sense to go for one that zooms from 18 mm all the way out to 55 mm.

16 mm	12 mm
The wide angle converter doesn’t distort much

It’s not that there’s anything particularly bad about 16 mm prime. Although some have complained of reduced sharpness and light transmission around the edges, and it does exhibit a slight pincushion distortion, the 16 mm prime can produce really excellent images. A close, it is great for shallow depth of field shots especially when used in aperture priority and manual focus mode. And the 16 mm is always my lens of choice when using the NEX-5′s built-in panorama stitching capability.

But unless you’re shooting the great outdoors, 16 mm is pretty wide for street photography. Although the crop factor of the APS-C sensor used in all existing NEX cameras makes this a 24 mm equivalent lens, it’s still quite wide. I don’t care for heavy cropping and postprocessing, though that is certainly an option as a way to correctly frame distant images with a wide lens thanks to the NEX camera’s generous 14 to 24 megapixel sensors.

16 mm	12 mm
A little extra width and height at 12 mm

Introducing the VCL-ECU1 Ultra Wide Angle Converter

There was much excitement last year when Sony released the first information about their VCL-ECU1 Ultra Wide-Angle Converter and VCL-ECF1 Fisheye Conversion Lens. Fisheye is something of a gimmick, but it is important for any camera system to have such a lens. But it was the VCL-ECU1 that really piqued the interest of photographers, due to the limited availability of wide lenses for the NEX system.

The VCL-ECU1 snaps on the front of the SEL-16F28 16 mm pancake lens and applies a .75 x multiplier, turning it into a 12 mm ultra-wide-angle lens. Sony claims that the VCL-ECU1 does not affect the light transmission either, so the combination remains an ƒ/2.8 lens.

User reviews show that the VCL-ECU1 combination does impact image quality at the edges and introduces some distortion. But this seems to be mitigated in software somewhat on the newer NEX-5N and NEX-C3 cameras, and one hopes that the forthcoming NEX-7 will have the same capability.

Out and about With the VCL-ECU1

My own testing of the VCL-ECU1 and SEL-16F28 combination was enjoyable indeed. It is a pleasure to use a fairly fast wide-angle lens indoors, since one does not need to be very close to the subject. I found that interior shots with this combination were quite pleasing, with little distortion. Outdoors, the pair works as well and allows a wider field of view as long as the subject is uncluttered.

The VCL-ECU1 is extremely well made (and in Japan rather than Thailand as is the case with most Sony lenses) and attaches with a satisfying snap. There is little wiggle room once it is attached, however, that this should not affect daily operation. There is no threaded ring for filters, however, and the black plastic hood on the VCL-ECU1 is permanently attached.

16 mm	12 mm
The converter expands both vertical and horizontal

The VCL-ECU1 comes in a sturdy zippered case and includes both front and rear caps. The combination is not tiny, however. Attaching the VCL-ECU1 to the 16 mm lens makes a bulky to the size of the 18 to 55 mm zoom. It’s somewhat fussy to have to remove any filters from the 16 mm lens, and the zippered case is quite broad in diameter, taking up a surprisingly large amount of room in my bag. Since I purchased a 50 mm Minolta lens at the same time, I decided to leave my zoom lens at home and try just those two. It works, but wasn’t really ideal. Frankly, I still prefer the 18 to 55 mm zoom as a single walkaround lens.

18 mm with converter	55 mm with converter
No, the converter doesn’t work with the 18-55 mm zoom lens!

Interestingly, the VCL-ECU1 snaps right onto the front of the big 18 to 55 mm zoom lens as well. But this one is totally incapable of operation with the ultra-wide-angle converter. The results range from a weird pinhole effect at 18 mm to a headache inducing blurriness at 55 mm. So much for that idea!

Stephen’s Stance

The VCL-ECU1 Ultra Wide Angle Converter is an interesting but not indispensable tool for the NEX camera owner. On the plus side, it brings a little flexibility and functionality to the otherwise limited 16 mm pancake prime. On the other hand, the 12 mm combination that results is not all that useful in everyday shooting, and the VCL-ECU1 is pretty bulky in the bag. Still, with a street price of less than $100, the VCL-ECU1 is not a bad buy for the NEX owner who already has the two popular kit lenses.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Sony VCL-ECU1 Ultra Wide Angle Converter for NEX Cameras: Hands-On Review
This post was categorized as Personal, Terabyte home. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

The 35mm lens from SLR Magic isn't perfect, but it produces delicious portraits

I have really enjoyed using my Sony NEX-5 camera, but one disappointment is the dearth of lenses available for Sony’s new “E-Mount” system. Although many have been promised, I know of just five native lenses for my camera. I recently purchased the first third-party E-Mount lens, a trick manual prime from SLR Magic in Hong Kong. It produces gorgeous portraits but is tricky to use and unsatisfying in construction, even at a low as-tested price of $150.

SLR Magic: A Portrait Prime

You might also want to read my Sony NEX-5 Camera Review

SLR Magic has gained a reputation among camera enthusiasts for their inexpensive lenses, most of which are amusing oddballs like their line of “toy” lenses. The company sells through eBay and ships directly from Hong Kong. Pricing is highly variable, so I paid 50% more than early adopters, but delivery was quick and the transaction was painless.

The first Sony E-Mount product from SLR Magic is this 35 mm (50 mm equivalent) prime lens. It is said to be a re-mount of a commercial closed-circuit TV system lens from some other Chinese producer, but the end result is much nicer than that would sound.

The SLR Magic 35mm is entirely manual but mounts directly to the NEX camera with no adapters. It is ultra fast, a claimed ƒ/1.7 with the aperture wide open, and focuses to just about 12 inches. The lens is really tiny, short and narrow, making the “mini SLR” NEX-5 look far less wide-eyed than with Sony’s lenses.

A fast, manual 50 mm-equivalent prime sounds like a portrait lens, and the soft optics really deliver the goods. Wide open, it vignettes like a toy camera and the corners are never in focus. But the effect is striking, lending itself to flattering portraits, macro images, and other specialty uses.

SLR Magic 35mm In the Flesh

I ordered my SLR Magic 35mm using eBay, and my offer of $10 below the then-current $139 asking price was accepted. It arrived quickly as a tiny parcel and came in a nice printed cardboard box.

The SLR Magic kit includes the lens itself along with a plastic body-side cap, screw-on metal lens cap, screw-on metal shade ring, and a bonus NEX camera body cap. My package also included a hard plastic NEX screen shield and lens cloth.

The lens feels solid in hand, with good weight, rubber grips, and vibrant black and white paint. There are no markings to exactly position the focus and aperture rings. But this is just as well, since the focus ring is somewhat sloppy, never returning exactly to the original position. The aperture ring is overly firm, and the blades look a bit rusty inside.

The lens attaches to the camera perfectly but lacks any spot to grip it thanks to a very narrow flange. I frequently have difficulty detaching the lens-body cap as well. The overall impression is one of promising yet compromised build quality.

Shooting With the SLR Magic

See also Sony Enhances the NEX Line With Updated Firmware and the New NEX-C3, and my SLR Magic photos tagged on Flickr

All these quibbles disappear when the lens is in use, however. It produces gorgeous results, and manual lens operation is a joy compared to the maze of menus required by Sony’s NEX firmware. With this lens attached, I spend more time experimenting with angle, aperture, and focus and much less tapping the buttons on the camera.

The SLR Magic lens is all about aperture. Wide open, focus can be tricky with about a centimeter difference between “too close” and “too far” in close shots. Choke it down a bit and depth of field becomes manageable, though much time is spent in Sony’s “MF Assist” screen zoom mode.

The latest NEX firmware includes “focus peaking” which appears to detect and highlight sharp contrast lines. I thought this would be a big help with the SLR Magic, but it hasn’t proven to be much use in practice. The NEX peaking is imprecise, still requiring MF Assist zooming, and is often incorrect as well. Plus, peaking is both useless and distracting when an auto-focus lens is attached.

The six-segment aperture produces delicious bokeh wide open and comes to an odd yet pleasing bow tie shape as it is closed. At ƒ/4 to 5.6, the lens gives an easy field of focus with just a hint of vignetting and blur in the corners. These mid-range shots are pleasingly retro and analog for a modern digital camera.

Forget about eliminating these artefacts entirely, though. The SLR Magic will never replace a full-range lens like Sony’s solid 18-55 mm kit tele-zoom. I find myself frequently swapping between these two lenses, leaving the Sony 16 mm pancake prime in the bag except for panoramas.

Stephen’s Stance

I would definitely recommend spending half as much on the SLR Magic lens rather than the Sony 16mm pancake

You might also want to read my review of the Eye-Fi X2 Card

The SLR Magic 35mm E-Mount prime is an enjoyable yet imperfect lens. It often produces “magically delicious” images but can be frustrating to focus and swap. Although optically very fast, it’s not a quick lens to use, requiring a few seconds to focus and experiment for every shot.

The Sony 18-55 mm tele-zoom remains my favorite NEX lens for its flexibility. Given this, I would definitely buy the SLR Magic 35mm lens before Sony’s overly wide 16mm pancake prime. But the SLR Magic would not be a good choice as the only lens on a trip. It’s a fun and fairly cheap toy, not a real photographic tool.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Hands-On Review: SLR Magic 35mm Sony NEX Lens
This post was categorized as Everything, Personal, Terabyte home. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

The new Sony NEX-C3 sports a higher resolution sensor in an even-smaller body

Sony has updated the impressive NEX “mirrorless” camera system, announcing the replacement of the NEX-3 and releasing new firmware with enhanced features. Although the new NEX-C3 will not appear until the fall, I am pleased to report that the new NEX firmware further enhances the usefulness of my NEX-5 camera.

Introducing the NEX-C3

See my Sony NEX-5 Camera Review

The Sony NEX line of mirrorless cameras previously featured two models, the NEX-3 and the NEX-5. Price $100 more, the NEX-5 was differentiated with a lighter and slimmer titanium case, 1080 P AVC HD video capability, and an infrared remote control receiver. The NEX-C3 is even lighter and slimmer than the NEX-5, but still lacks the upscale video and remote receiver. It also packs an enhanced 16.2 megapixel image sensor, as found on the new Sony a 35 digital SLR.

All NEX cameras get enhanced firmware which features in camera picture effects and “peaking” for manual focusing. This firmware, version 4, is currently available worldwide for Sony NEX-3 and NEX-5 owners. It also includes the enhancements found in version 3, including the critical button programming updates that made the camera more useful and less fussy.

Stephen’s Stance

Although other camera vendors have introduced compact SLR quality cameras, and Sony has been slow to introduce new lens options for this “E Mount” camera system, I remain impressed by the Sony NEX. It offers a great combination of image quality and portability at a reasonable price.

I hope to see an enhanced NEX-5 introduced, and my wish list includes a microphone input and a real hot shoe for the flash. More manual dials would be nice too. In the meantime, I would not hesitate to recommend the NEX-5 or NEX-C3.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Sony Enhances the NEX Line With Updated Firmware and the New NEX-C3
This post was categorized as Personal. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

The Eye-Fi promises simple connectivity for digital cameras, but does it really work?

One reason the smartphones like the iPhone are gaining ground on purpose-built cameras is their instant connectivity: Take a photo and you can immediately share it on Twitter, Flickr, Facebook, or other popular sites. Wouldn’t it be great if your SLR or digital camera could do the same? This is the promise of the Eye-Fi card: It adds Wi-Fi connectivity to most popular cameras, enabling you to transfer photos directly to your laptop or the Internet. If only it worked.

Introducing the Eye-Fi

The Eye-Fi card is a marvel of engineering. Now in its second iteration (X2), the Eye-Fi is a standard SD card with a built-in Wi-Fi radio and smarts to handle connecting and transferring images. It’s really amazing to think that that tiny card has a whole computer with Wi-Fi inside it!

Check out my follow-on post to see just what lurks inside the Eye-Fi X2!

But the Eye-Fi is more than a card. It’s also an online service (Eye-Fi View), software application for Windows or Mac (Eye-Fi Center), and app for iOS or Android that enables photo sharing. The card is useless without these applications and services.

The Eye-Fi card is compatible with most cameras that take SD media, and many (including my Sony NEX-5) have special support for the card. My NEX includes an on-screen icon showing card status, and will keep the camera powered on while images are being transferred.

The X2 Generation

Last year, Eye-Fi upgraded the hardware in their Eye-Fi lineup. These new X2 cards are a huge upgrade, as you will soon see, and were enough to finally push me off the fence and buy one. I purchased a Connect X2 card at Wal Mart, which sells them for a reasonable $39, as does Amazon.

Earlier Eye-Fi cards required a known Wi-Fi network to do anything at all, limiting their usefulness. But the new X2 series (including the Connect X2 I purchased) has a “Direct Mode” capability, allowing the card to act as a limited hotspot to transfer photos to a laptop, tablet, or phone when no network is in range.

Eye-Fi Features and Services

All Eye-Fi X2 cards offer the same features and services – for a price. Even my lowly Connect X2 can be upgraded to match the Pro X2′s geotagging and public Wi-Fi support. The only really Pro-exclusive feature is RAW file transfer. But none of these added features is actually worth that much, as you will see. I recommend the base Connect X2.

Eye-Fi inexplicably leaves the Geo X2 off their comparison table. And they’re not exactly generous with the information. So here’s my own Eye-Fi comparison table, and I’ve included about the nicest regular SD card I could find.

	Patriot 32 GB SDHC	Eye-Fi Connect X2	Eye-Fi Geo X2	Eye-Fi Mobile X2	Eye-Fi Pro X2
Speed	Class 10 (10 MB/s)	Class 6 (6 MB/s)
Connectivity	SD Reader	SD Reader, 802.11 b/g/n Wi-Fi with Direct Mode
Capacity	32 GB	4 GB		8 GB
RAW compatibility	Manual import only				Yes
Sharing	Manual	Automatic to Flickr, Facebook, etc
Geotagging	No	$29.99 option	Yes	$29.99 option	Yes
Hotspot Access	No	$29.99 per year			First year free, then $29.99 per year
List Price	$84.99	$49.99	$69.95	$79.99	$106.99
Street Price	$50	$40	$70	$72	$90
Price With Geo	N/A	$70	$70	$102	$90

Direct Mode

This is the real killer feature of the Eye-Fi X2 line. When the card isn’t in range of a known Wi-Fi hotspot (and has photos to transfer) it will create its own ad-hoc network for local devices. Once connected to this network, laptops, tablets, and phones can transfer photos at Wi-Fi speed directly from the card.

I’ll write more about it in a follow-on post, but suffice to say that Direct Mode is the only feature worth paying for and it’s included free on all Eye-Fi X2 cards!

Geotagging

Geotagging seems like an awesome add-on for a digital camera, and it is surprising more don’t already include it. Sites like Flickr and applications like iPhoto make great use of location tagging, and the iPhone automatically tags all photos.

But the Eye-Fi has two major strikes against it when it comes to geotagging, and these combine to reduce the value of this feature:

1. The Eye-Fi cards don’t have a GPS receiver, so they have to triangulate location based on nearby Wi-Fi access points. This gives innacurate location data at the best of times and is completely worthless off the beaten path.
2. The Eye-Fi doesn’t tag photos when they are taken but rather when they are transferred by the Eye-Fi software. This means that any images imported directly off the card won’t have geotags.

The limited functionality of Eye-Fi geotagging means it’s simply not worth paying extra for. There goes the $69 Geo X2 from Apple, as well as the $29 upgrade for Connect X2 users.

Hotspot Support

Basic Eye-Fi models only recognize hotspots you program them for, but the top model can access a wide range of public hotspots automatically. This is also available as an extra-charge item, priced at $29.99 per year.

Hotspot access was very valuable in earlier Eye-Fi models, since there was no way to transfer photos without them. But the X2 cards, with their Direct Mode, offer a better alternative at no cost. It’s definitely not worth buying a Pro X2 card for hotspot access, since it only includes one year of service.

SDHC Class 6 and Wireless-N Speed

The Eye-Fi X2 features two performance and compatibility improvements over previous models:

1. SDHC Class 6 compatibility means the card can now keep up with today’s fast shooting and megapixel-heavy cameras. This is more important for HD video, but some cameras (like my NEX) can tax Class 4 (40 MB/s) cards in speed shooting modes, and Class 6 (6 MB/s) might not even be enough. In fact, I did encounter some “cannot write” errors when using the Eye-Fi card, and I attribute this to the card still not being fast enough!
2. The new X2 cards support Wi-Fi “N” networks. This is more about compatibility than performance, since the card can’t transfer fast enough to tax a “G” network anyway. But folks like me who have “N-only” networks at home appreciate it, however.

Neiter of these features are deal-breakers, and neither adds much to the Eye-Fi experience. But both are welcome updates and keep the cards from becoming obsolete in today’s world.

Which Eye-Fi Card Is Best?

Normally, I have to waffle a bit when recommending a purchase. After all, some people might need to drive a Ferrari, right? But the Eye-Fi is a special case, and a single answer will do:

If you decide to buy an Eye-Fi card, get the cheapest Connect X2 model and don’t bother with any upgrades.

Seriously. The added features in the upscale Eye-Fi cards are worthless in real-world usage. Don’t buy them.

1. Stepping up to 8 GB of capacity isn’t all that valuable in a connected card, and this is some seriously expensive capacity
2. Eye-Fi geotagging is just about worthless, so put it out of your mind and don’t be tempted
3. Public hotspot usage will just be frustrating, and Direct Mode allows the card to function without it

In my next post, I will discuss my real-world experience with the Eye-Fi card, and end with a disappointing recommendation.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Introducing the Eye-Fi X2 Card
This post was categorized as Apple, Personal, Terabyte home. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

The Sony Alpha NEX-3 is a great camera made even better with a $50 discount!

I’ve really enjoyed my Sony NEX-5 mirrorless camera. Since I wrote up my review in September, I’ve used it frequently. Sony recently posted a major firmware update which addressed many of the usability concerns I (and many others) had as well.

My only concern is that the NEX-5 is somewhat expensive, starting at $649 with the “pancake” lens and $699 with the telephoto zoom. Now there’s some relief on the price: Amazon is offering the “little brother” NEX-3 for just $499 or $549, a $50 discount from list price!

Read my Sony NEX-5 Camera Review for more about this camera!

The NEX-3 is very similar to the NEX-5:

• The main difference is a slightly-larger plastic body on the NEX-3 instead of the slimmer and lighter magnesium body on the NEX-5
• The NEX-3 lacks the NEX-5′s infrared receiver for a remote shutter release
• Unlike the NEX-5, the NEX-3 cannot shoot video in AVCHD format

That’s about it. Seriously, the NEX-3 is a really great camera, and $550 with the 18-55 mm zoom is a killer deal. If you’re trying to economize, I’d skip the 16 mm pancake lens even though it’s $50 cheaper. The telephoto zoom is a must-have, while the wide prime is merely handy.

Note: Some of these links include affiliate codes that help pay for this blog. For example, buying an Amazon Kindle with this link sends a few bucks my way! But I don't write this blog to make money, and am happy to link to sites and stores that don't pay anything. I like Amazon and buy tons from them, but you're free to buy whatever and wherever you want.

© sfoskett for Stephen Foskett, Pack Rat, 2010. | $50 Off The Excellent Sony NEX-3 Camera
This post was categorized as Deals. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

The Sony NEX-5 packs the optics and sensor of a digital SLR into a compact body

The world of photography is like so many others: A vast gulf separates the amateurs and enthusiasts, from equipment to nomenclature to skills. I am decidedly in the amateur camp when it comes to photography, but I recently upgraded to a new compact interchangeable-lense camera, the Sony alpha NEX-5. It is an excellent match for my needs, allowing me to expand my skills and explore more advanced photographic techniques without sacrificing portability and ease of use.

Exploring Photography, Exploring the World

I have become increasingly dissatisfied with the photographs I’ve taken. Much of the blame rests on my meagre skills as a photographer, of course, but these have been improving to the point that I’ve touched some limits of point-and-shoot digital cameras. They lack the image processing, customizability, and shot-to-shot performance of larger cameras, but it was poor low-light capability that really hampered my photos.

A photographer friend explains that a camera is like a funnel in the rain, only collecting light (photons) instead of raindrops (water). The skill of photography is matching the size of the opening to the varying conditions encountered while exploring the world. Compact point-and-shoot cameras use tiny sensors and poor optics: Skill and trickery can extract decent photos from them, but the bigger sensors and better optics found on larger cameras make them far more flexible and adaptable.

The art of photography is another matter entirely. The world we live in is full of beauty, leading to the wonderful truism that the best camera is the one you have at hand. Some people are happy to carry a large camera and a variety of lenses and accessories wherever they go, others are content with snapshots from a pocket camera or cell phone, and many don’t care to take photographs at all. The unfortunate remainder regret not having an appropriate camera whenever and wherever they find themselves.

In my travels for work and pleasure, I have always tried to capture what I see using whatever camera I had at hand. I progressed from a cheap but tiny HP Photosmart camera to a Nikon PowerShot E4300, a Canon SD850, and a Canon SD1100 over the past decade. I carefully researched and selected the Canons based on their usability, optical image stabilization, and above-average sensors and optics, but portability was critical. I am not a camera bag guy, and a camera I can’t slip into a jacket pocket would sit at home.

I am proud of a few of the tens thousands of photos that resulted, but too many are grainy, dim, blurry, or washed out. The tiny sensors and basic lenses of these cameras simply couldn’t match my growing aspirations. This left me in a quandry: I wanted a larger sensor and better optics but knew I wouldn’t lug a huge D-SLR wherever I went.

Sony alpha NEX: Portablility and Quality

I was introduced to the nascent world of prosumer cameras by my friends Simon Seagrave and Greg Ferro. Simon’s Canon PowerShot G11 impressed me with its build quality, flexible manual controls, and fine optics, though the tiny sensor lacks low-light sensitivity. Greg’g Panasonic Lumix DMC-GF1 opened my eyes to the possibility of large SLR-like sensors and interchangeable lenses in a compact camera. I strongly considered the Olympus PEN E-PL1 before hearing about Sony’s NEX-3 and NEX-5.

The Sony NEX, like the Panasonic/Olympus Micro Four-Thirds system and the Samsung NX10, omit the mirror and pentaprism viewfinder of a true SLR in favor of compact dimensions. The resulting cameras can be as small as some point-and-shoot models when equipped with a reasonably-sized lense, and fitting one with a non-zoom lense (a prime or “pancake” in the vernacular) results in an eminently-pocketable camera without sacrificing image quality. Some call these “Mirrorless Interchangeable Lense Cameras“, but there are many other names besides.

The APS-C image sensor used in the Sony NEX cameras is 50% larger than the one used in Four Thirds cameras, and 13 times larger than the 1/2.5" sensors used in compact point-and-shoot cameras like my Canon PowerShots

Sony went one step further than their competitors, designing a compact digital camera from the ground up. The DSLR-standard APS-C image sensor is the only holdover. It’s 50% larger than a Micro Four/Thirds sensor and an amazing 13 times larger than the sensors used in typical point-and-shoot cameras like my Canons. Although 14.2 megapixels is impressive, Sony’s latest “Exmor” sensor is more about quality and sensitivity than pixel count. The rest of the camera was designed around this sensor, with an emphasis placed on minimizing the physical size of the camera while preserving the critical lense-to-sensor corridor.

The NEX-3 is small and light, but the NEX-5 is even more compact. Its magnesium body seems shrink-wrapped around the optics, with bulk chisled out around the standard tripod nut and lense mount. The NEX-5 would be almost as tiny as my old SD1100 without the lense and flash, but a realistic configuration is larger. Attach the 16 mm pancake and flash and it matches the E4300 – pocketable for jacket if not trousers. It is amazingly light as well, though quite a bit heavier than most compacts. Equipped with the 18-55 mm zoom, a NEX camera is much smaller than an equivalent SLR, but solidly in the “camera bag” class.

Purchasing the NEX-5

My first hands-on experience with the NEX line came in early September at Microcenter in Sunnyvale, CA. Although the staff wasn’t much help, they let me take my time exploring their NEX-5 demo unit. I was immediately taken buy the little camera, and was surprised by how small it was relative to the Nikon and Canon D-SLRs and even the Olympus and Panasonic Micro Four Thirds cameras.

They had just received their initial shipment, and I purchased their sole NEX-5 kit: A silver body with the 18-55 mm zoom lense. I also picked up the 16 mm “pancake” lense, happy for a $150 package discount, though I skipped the shotgun microphone, optical viewfinder, and weird Sony “body wrap” cases. The total cost was $798 plus tax, matching just about every online retailer I could find. I’m using a 16 GB Class-6 SDHC card I purchased previously.

Since this is an on-the-go portable camera, cases and straps are important. Most camera bags are take-it-all duffels designed with D-SLRs in mind or point-and-shoot slip cases. I wanted something that would protect the camera and both lenses but still fit in my laptop backpack or suitcase. I located the small hard-sided Case Logic MSEC-4 EVA Molded Camcorder Case that just fits, and the NEX-5 and 16 mm pancake will also slip into an old leather pouch I used for the Nikon E4300. I am currently using a Canon hand strap rather than the bulky neck strap included in the box.

My Experiences

Image quality is superb, with reviews gushing about low-light/high-ISO sensitivity, color accuracy, and good (if not pro) optics. I’m not really able to judge these things, but I can definitely state that it’s night-and-day better than any camera I’ve used. The big sensor and optics allow me to skip the flash in most cases, eliminating the too-bright snapshot look of so many of my photos. For the first time I have a camera with real depth of field flexibility and manual focus, and I’m loving my up-close photos.

Sony’s automation really improves my shooting as well, with Intelligent Auto mode adding quality to quick shots. If I want more control I can use Program Auto, or the shutter- or aperature-priority modes. The in-camera high dynamic range (HDR) and bracketing functions are only moderately effective, but the “Hand-held Twilight” feature is really impressive, combining six images to eliminate low-light noise. I’ve only begun to explore the various shooting modes but feel that Sony was wise to include consumer-oriented features and automatic operation with quality components.

The NEX menus leave something to be desired, however. Basic functions like ISO and white balance are buried in menus and seem haphazardly scattered, and button functions change in a way that isn’t always logical. I wish the camera included manual knobs or even consistent shortcuts for basic shooting parameters. Although Sony’s shooting tips are context-sensitive and genuinely helpful, the hard button taken up could be reassigned to a more-useful function.

Battery life is good if not great, and I am not as bothered by some reviewers with the long-ish time it take to power on the camera. Responsiveness is excellent, as is continuous-shot performance, and everything feels solid and ergonomic. I love how the camera body, lense zoom and focus rings, and control buttons fall to hand, and the tilting LCD is sharp and bright.

The NEX-5 has only basic video controls, but it shoots both 1440×1080 MPEG4 and 1920×1080/60i AVCHD. Video quality is remarkable – it’s a different world from my Canon SD1100, Kodak Zi8, or iPhone 4, and better than most consumer camcorders I’ve tried. It is comparable to the Canon Mark II footage shot by the video team hired for Tech Field Day, though their pro three-CCD Panasonic camera leaves it in the dust. Shooting with the 18-55 mm zoom is particularly nice, retaining autofocus and stabilization.

Sony Style Lock-In?

I’m not really a Sony fan, but the NEX cameras are thankfully free of many of their foolish lock-in “ecosystem” hobby horses. I never considered buying a Memory Stick-only camera, and was glad to see Sony (finally) add support for standard SD memory cards. In fact, the dual-purpose slot on the NEX-5 fits an SD card better than Sony’s own Memory Stick PRO Duo media! The NEX cameras use standard Mini USB and HDMI cables, reducing travel weight, and are fully supported by the Apple software I use: iPhoto is compatible with NEX RAW photos, the MPEG4 videos work everywhere, and Final Cut Pro reads the AVCHD video without a plug-in.

The new E-mount lenses are found only on three Sony cameras, but this is to be expected for an entirely new lense/image system. Third-party E-mount lenses are already appearing, and Sony just released an expensive 200 mm zoom. An adapter is available to mount the wide world of Sony/Minolta A-mount lenses, though stabilization and auto-focus are disabled.

My biggest “ecosystem” complaint is the proprietary flash/microphone mount. The included flash is better than that on most compact cameras and small enough to leave attached, but it’s no powerhouse. It would have been nice to have compatibility with the wide world of third-party flash units, but a standard hotshoe just wouldn’t fit in the slim NEX body.

That the same mount also includes a proprietary microphone connector is a much bigger issue for me. Indeed, the lack of a conventional microphone jack was almost deal-breaking. The secret to great video is often the quality of the audio, and even the very good in-body microphones on the NEX-5 leave much to be desired. I am hopeful that the connector will be reverse-engineered and an 8 mm mic adapter accessory will appear.

Stephen’s Stance

The NEX-5 is a winner, combining excellent hardware, good (if sometimes-frustrating) software, and amazing portability. I just can’t get over that I can pack the camera and two lenses in a case smaller than an equivalent D-SLR body! Foregoing the zoom in favor of the 16 mm pancake transforms the camera into a pocketable companion for many occasions, relegating the iPhone 4 camera for emergency use only.

I expected to love the 16 mm “pancake” lense and leave the zoom behind, but am finding myself doing the opposite so far. The versatility and quality of the zoom makes it worth its weight and bulk, and I expect the prime will only see “snapshot” and macro use. I also find myself leaving the flash attached “just in case” though I rarely use it.

Overall, the NEX-5 is well worth the money for an enthusiastic amateur like me. Photo and video quality are a world better than any compact camera and rival the D-SLR world. I preferred the Sony’s smaller size and imaging performance to the “mirrorless” competitors from Olympus, Panasonic, and Samsung, though their controls and standard hotshoes are better. Solid construction, better “feel”, and AVCHD video in the NEX-5 was worth the $100 premium over the NEX-3. All things considered, there isn’t a better camera on the market for someone like me.

Note: Some of these links include affiliate codes that help pay for this blog. For example, buying an Amazon Kindle with this link sends a few bucks my way! But I don't write this blog to make money, and am happy to link to sites and stores that don't pay anything. I like Amazon and buy tons from them, but you're free to buy whatever and wherever you want.

© sfoskett for Stephen Foskett, Pack Rat, 2010. | Sony NEX-5 Camera Review
This post was categorized as Features, Personal, Terabyte home. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.

Adaptive Audio Controls and Portrait-Mode Screen Rotation Lock

The double-click task switcher isn’t as well-known among regular iOS 4 users as I would have guessed, but even less well-known is what happens when you double-click the home button and slide right. Rather than listing running apps, the task menu shows some incredibly-useful icons: A screen rotation lock and audio controls!

Double-click the home button and slide right to reveal audio controls and a screen rotation lock

Earlier iPhone OS versions included a pop-up audio control screen, but it wouldn’t appear when no music was playing. This new control screen is always accessible and is a great way to get to the iPod function if you want to replace it with a different app (or a folder) in the dock.

Third-party audio apps can be controlled here, too!

As an added bonus, iOS 4′s unified audio engine allows these buttons to control any other background audio-capable app as well. Run Pandora, MLB, NPR, or any other app that supports the new iOS 4 frameworks and you can switch tracks or pause with a simple double-click!

The screen rotation lock is disappointingly portrait-mode only (as is the multitasking menu itself) but it’s a start. I find myself using the lock switch on the iPad constantly, and it would be nice to have all the same functionality on the iPhone.

Support for Multiple Exchange Servers

It might not be obvious why regular people would use multiple Exchange ActiveSync accounts at once on an iOS device. Here’s a hint: Google contacts can only be synced over-the-air with the EAS protocol. Although you may want your email and calendars to use iMAP and CalDAV, respectively, anyone who has contacts stored in more than one Exchange or Gmail account needs this capability!

I’ve covered this topic extensively before, so I’ll just leave it at that. See How To Set Up Multiple Exchange ActiveSync Accounts in iPhone iOS 4 and How To Enable ActiveSync For Google Apps Accounts for more.

Camera Zoom and Movie Refocus

Zoom in to compose better snapshots

The camera app was touched up, too. Photo-takers have been able to tap a spot in an image to refocus (and reset exposure) for quite a while, but tapping now also brings up a zoom slider. This makes composing photos on the iPhone that much easier and improves the resulting image for quick sharing. Image crop and other edit controls in the photo app would be nice, as would more-extensive image controls, but this is a good first step. Digital zoom generally stinks, but the high-resolution camera in the iPhone 4 makes it tolerable.

Apple also enabled the tap-to-refocus square during video recording. This allows for some (gasp!) artistic video shots to be composed, despite the limited depth of field of the iPhone camera. It’s especially useful outdoors, where brightness can vary wildly.

Spellcheck

iOS now detects misspellings and offers suggestions

The iPhone has always had inline spelling correction using popup “tags” as you type, but iOS 4 does this one better. Like desktop computers, the iPhone and related devices will now underline potential misspelled words in red and offer suggestions when these hotspots are tapped.

“Data Detectors” for Dates, Addresses and FedEx and UPS Tracking Numbers

iOS 4 detects dates, addresses, and tracking numbers and converts them into useful links

Users of Mac OS X have gotten used to the “data detectors” embedded in Mail and other apps. They are capable of converting dates, email addresses, and other plain text into smart links. Receive an email that says “let’s meet next tuesday at 10″ and Mail creates a link to create a new appointment for that date and time in the Calendar app.

iOS 4 has this capability as well, decoding dates and addresses as well as popular package-tracking codes. This is incredibly useful: When someone sends you a UPS, FedEx, or USPS package tracking number, the Mail app will convert it into a link for the appropriate web site, allowing you to quickly check on shipment.

Web and Wikipedia Search

“Spotlight” search has been a part of the iPhone OS since OS version 3, though I never used it much. It offers full-text search of all data, including email messages. But most people don’t store more than a month of email on the device, reducing the usefulness of search. Now that we have folders, search doesn’t even save time locating apps.

iOS 4 now integrates Wikipedia and Web search with Spotlight queries

Search for data not already found on the iPhone, and Spotlight will suggest a Web or Wikipedia search option. This is nice, but would be more useful if it also suggested searching the contents of mail servers, LDAP directories, and other more user-specific online data sources.

Simplified “New Contact” Screen

You can select information types in the streamlined "New Contact" screen

The iPhone always allowed one to add a contact from an email address or phone number. But the “new contact” screen was annoyingly limited. It categorized all new phone numbers as “home”, for example, an assumption that is almost always incorrect in my case. iOS 4 adds tap-to-select field categories, allowing you to correctly enter information right from the start.

Resize Photos When Sending

The iPhone camera is a great companion, allowing serendipitous photos from everyday life to be grabbed for posterity. But sharing these photos was a hassle, with the phone automatically compressing any mailed photos to save space.

iOS 4 now gives you the option of compressing photos and videos in mail messages

iOS 4 now gives you the option of leaving your photos in their original size, or compressing them to “Medium” or “Small” size. The same options appear for video attachments, and multiple images are supported as well.

Create Real Playlists in iPod

No more playlists called "On The Go 4"!

iPods have had the ability to create lame “On The Go” playlists for almost a decade, but until iOS 4 none could create a real full playlist, complete with a name. Finally!

Birthday Calendar

Happy birthday to who?

Lots of my contacts included a Birthday field, but there was no easy way to use this information on an iPhone. iOS 4 automatically creates a new calendar called “Birthdays” that automatically includes these in the new unified calendar view.

Stephen’s Stance

There are lots of great features hidden in iOS 4 besides folders and multitasking. Background audio, VoIP, selectable wallpapers, saving PDFs as iBooks, and many others compete for attention. But I found the 10 listed here to be the most useful and surprising to me in everyday use. What are your favorite iOS 4 features?

© sfoskett for Stephen Foskett, Pack Rat, 2010. | My 10 Favorite Hidden iOS 4 Features
This post was categorized as Apple, Features, Personal. Each of my categories has its own feed if you'd like to filter out or focus on posts like this.