Sony alpha a5000 kit


Sony Камера α5000 с байонетом E и матрицей APS-C

Матрица Exmor™ APS HD CMOSПроцессор обработки изображения BIONZ XВысокая чувствительность ISO 100-16000 Самая популярная матрица в мире МультиэкспозицияИнтервальная съемкаСинхронизация со смартфоном Приложения Imaging Edge™ Remote, Viewer и EditCapture One (для Sony) iMovie 3D модель продукта Программа поддержки профессионалов Sony Технические характеристики и функции

  • Матрица 20,1 МП Exmor™ APS HD CMOS

  • Процессор BIONZ X™ для отличной детализации и снижения шума

  • Поворотный ЖК-экран с углом наклона 180° для создания идеальных автопортретов

  • Приложения PlayMemories Camera Apps для расширения творческих возможностей

  • Удобство передачи файлов и управления с подключением по Wi-Fi или NFC в одно касание

Совместимость с объективамиОбъективы Sony с байонетом EТип матрицыМатрица Exmor™ APS HD CMOS типа APS-C (23,5 x 15,6 мм)Количество пикселей (эффективных)Прибл. 20,1 мегапикселяЧувствительность ISO (рекомендованный индекс экспозиции)Фотографии: ISO 100-16000 эквивалент, АВТО (ISO 100-16000, с выбором нижнего и верхнего предела) Видео: ISO 100-6400 эквивалент (с шагом 1/3 EV) / АВТО (ISO 100-6400, с выбором нижнего и верхнего предела)Время работы от аккумулятора (фотография)Прибл. 420 снимков (ЖК-экран)Тип экрана7,5 см (тип 3.0) TFTИзображение Камера α5000 с байонетом E и матрицей APS-CИзображение Камера α5000 с байонетом E и матрицей APS-C

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Тест беззеркальной камеры Sony a5000 (Alpha 5000) | CHIP

Итоги теста

Эргономика Хорошая сборка Хорошая резкость и низкий уровень шума Быстрый автофокус

Умеренное оснащение Низкая скорость серийной съемки

Результаты тестирования Sony Alpha 5000

  • Соотношение цена/качество Хорошо
  • Место в общем рейтинге 67 из 70
  • Соотношение цена/качество: 68
  • Качество изображения (40%): 83.3
  • Оснащение и управление (35%): 52.9
  • Быстродействие (10%): 52.4
  • Качество видео (15%): 71.9

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Камера Sony Alpha 5000: доступна в черном, серебристом и белом корпусе.

При дневном свете 20 мегапикселей дают около 1620 из максимально возможных 1816 пар линий на высоту кадра. Камера показывает очень хороший уровень резкости даже при съемке в помещении с ISO 1600.

Правда, начиная с этого уровня ISO, становятся заметными всё усиливающееся размытие оптического рисунка изображения и снижающаяся детализация. Из-за возникающих серьезных дефектов изображения хорошо подумайте, прежде чем использовать максимальный уровень ISO 16000.

У Sony a5000 очень неплохо работают 25 точек контрастного автофокуса. С идущим в комплекте, очень легким кит-объективом 16-50 мм беззеркальная камера хорошо подходит для моментальной съемки. Трехкратный зум со стабилизацией и фокусным расстоянием 24-75 в пленочном эквиваленте показал себя как вполне универсальный.

Зато нас не очень порадовала серийная съемка ­ всего 2,3 кадра в секунду, по этой характеристике камера занимает одно из последних мест в нашем топ-листе. Аккумулятор камеры с максимум 710 снимками и 161 минутой видео на одной зарядке показал себя гораздо лучше и выносливее.

У Sony a5000 лишь базовая комплектация

Sony Alpha 5000: Выходы HDMI и USB расположены сбоку

Несмотря на полностью пластиковый корпус, камера Alpha 5000 массой 280 грамм выглядит очень достойно и удобно лежит в руке. Трехдюймовый дисплей имеет формат 16:9, с разрешением 460 000 субпикселей он дает четкое и резкое изображение, его можно поворачивать на 180 градусов, благодаря чему камера хорошо подходит для съемки селфи.

Помимо ручных режимов P S A M, в вашем распоряжении будут многочисленные фильтры, например, сепия и диорама. Sony Alpha 5000 записывает видео в формате Full-HD и стереозвуком на карту SD. Но скорость 25 кадров в секунду сегодня кажется уже немного не современной.

У a5000 есть встроенная вспышка, правда, ее мощность с ведущим числом три невелика. Она поможет вам осветить только ближние объекты. У камеры нет режима ручной выдержки (bulb) для съемки фотографий с выдержкой более 30 секунд и сенсорного экрана. Зато для беспроводной связи со смартфонами и планшетами у нее есть NFC и Wi-Fi.

Качество изображения (40%)

83.3 %

Оснащение и управление (35%)

52.9 %

Быстродействие (10%)

52.4 %

Качество видео (15%)

71.9 %

Характеристики и результаты тестирования Sony Alpha 5000

Соотношение цена/качество 68
Тип камеры DSLM
Эффективное количество пикселей 19,7 Мпикс
Максимальное разрешение фото 5436 x 3632 пикселей
Тип сенсора CMOS
Размеры сенсора 23,2 x 15,4 мм
Очистка сенсора да
Встроенный стабилизатор (в камеру) -
Запись видео да
Крепление объектива Sony E
Объектив при оценке качества снимков Sony E 50 мм f/1.8 OSS
Объектив при оценке быстродействия Sony SEL 3.5-5.6/18-55 OSS
Минимальное время спуска затвора 1/4.000 c
Максимальное время спуска затвора 30 c
Видоискатель нет
Покрытие видоискателя -
Увеличение видоискателя -
Дисплей: диагональ 3,0 дюйма
Дисплей: разрешение 460.800 субпикселей
Дисплей: тачскрин -
Дисплей: запуск записи видео с тачскрина -
Дисплей: возможность поворота откидной
Дисплей: селфи-режим да
Второй дисплей -
Датчик ориентации -
GPS -
Минимальное ISO ISO 100
Максимальное ISO ISO 16.000
Мин. время синхронизации со вспышкой 1/160 c
Баланс белого (кол-во предустановок) 1 Preset
Баланс белого: по шкале Кельвина да
Разрешение при ISO мин 1.638 пар линий
Разрешение при ISO 400 1.630 пар линий
Разрешение при ISO 800 1.620 пар линий
Разрешение при ISO 1600 1.582 пар линий
Разрешение при ISO 3200 1.540 пар линий
Разрешение при ISO 6400 1.394 пар линий
Детализация при ISO мин 94,3 %
Детализация при ISO 400 93,9 %
Детализация при ISO 800 92,0 %
Детализация при ISO 1600 89,8 %
Детализация при ISO 3200 66,6 %
Детализация при ISO 6400 86,4 %
Визуальный шум при ISO мин 0,77 VN (0,8 VN1, 0,5 VN3)
Визуальный шум при ISO 400 0,96 VN (1,0 VN1, 0,6 VN3)
Визуальный шум при ISO 800 1,15 VN (1,2 VN1, 0,7 VN3)
Визуальный шум при ISO 1600 1,45 VN (1,5 VN1, 1,0 VN3)
Визуальный шум при ISO 3200 1,54 VN (1,6 VN1, 1,0 VN3)
Визуальный шум при ISO 6400 2,02 VN (2,1 VN1, 1,3 VN3)
Экспертная оценка: шумность и детализация при ISO мин очень хорошо
Экспертная оценка: шумность и детализация при ISO 1600 хорошо
Экспертная оценка: шумность и детализация при ISO 3200 хорошо
Экспертная оценка: шумность и детализация при ISO 6400 приемлемо
Время готовности к съемке из выключенного состояния 4,3 c
Время задержки спуска затвора при ручной фокусировке 0,05 c
Время задержки спуска затвора с автофокусом при дневном свете -
Время задержки спуска затвора с автофокусом при слабом освещении -
Время задержки спуска затвора в режиме Live-View с автофокусом при дневном свете 0,50 c
Скорость серийной съемки в RAW 2,2 фото/сек
Длина серии в RAW 13 фото единовременно
Скорость серийной съемки в JPEG 2,3 фото/сек
Длина серии в JPEG 100 фото единовременно
Аккумулятор NP-FW50
Стоимость аккумулятора 45 €
Аккумулятор: макс. фотографий со вспышкой 330 фото
Аккумулятор: макс. фотографий без вспышки 710 фото
Аккумулятор: макс. фотографий в Live-View со вспышкой 710 фото
Аккумулятор: макс. фотографий в Live-View без вспышки 330 фото
Аккумулятор: продолжительность записи видео 2:41 ч:мин
Разъем для микрофона -
Встроенная вспышка да
Управление вспышкой да
Дистанционный спуск затвора -
Тип карты памяти SDXC / Memory Stick
WLAN да
NFC да
Материал корпуса поликарбонат
Корпус: защита от пыли и водяных брызг -
Габариты 110 x 63 x 36 мм
Вес без объктива 289 г

ichip.ru

Sony Alpha A5000 review - | Cameralabs

The Sony Alpha A5000 is an upper entry-level mirrorless camera that’s compatible with Sony’s range of E-mount lenses. Announced in January 2014 it’s the successor to the NEX 3N, and becomes the second E-mount camera to abandon the NEX branding in favour of the Alpha name only. It also has the distinction of being, according to Sony, ‘the world’s smallest and lightest interchangeable lens camera to feature the convenience of Wi-Fi connectivity’, though here Sony is restricting the field to cameras with an APS-C sensor. Where last year’s A3000 employed DSLR-styling, the new A5000 unmistakably shares the compact style of earlier NEX models, in particular the 3N which it replaces.

Like all E-mount cameras, the A5000 employs an APS-C sensor with a 1.5x field reduction. The A5000’s sensor shares the same 20.1 Megapixel resolution as the A3000 and like that model supports contrast-based AF only. Like the NEX 3N before it, the A5000 sports an articulated screen which can be angled forward to face the subject for self-portraits and shares the same lever around the shutter release which can operate power zoom lenses. It also offers 1080p video, focus peaking, and built-in Wifi with NFC that supports smartphone remote control and downloadable apps. So despite some confusion remaining over the branding, it’s easiest to think of the A5000 as a NEX 3N with 20 Megapixels and Wifi with NFC.

As an upper entry level model, the A5000 is an obvious choice for upgraders making the move to interchangeable lens photography from smartphones and compacts. As such it’ll come in for stiff competition from entry level DSLRs. In my review I’ve tested it alongside Nikon’s budget D3300 and I’ve also compared it with Canon’s new entry level DSLR, the EOS Rebel T5 / 1200D.

In terms of styling the A5000 is a clear development of the previous NEX line, sharing the slim profile and clean lines of its predecessor. In fact it’s almost exactly the same size as the NEX 3N but just a few millimetres thicker, measuring 110x63x36mm and weighing 269g with battery and card (body only). If you’re considering a DSLR at a similar price point, Nikon’s D3300 body measures 124x98x76mm and weighs 460g and the Canon EOS T5 / 1200D measures 130x100x78mm and weighs 480g with battery and card. So clearly the A5000 is much smaller all round and much lighter too, while sporting the same sized APS-C sensor inside.

The top panel retains the sliding on/off switch mounted on the shutter release but the shape of the panel is different. The dip on the right side is gone and the grip extends forwards with a slight downward slope to a more rounded curve at the front. The playback button is moved to the back panel and there’s now a rounded hump housing the flash. As before the button to activate it is behind it and to the left, positioned for your right thumb on the angled rear section of the top panel. The movie recording button is on the opposite side of this panel where you can press it with your right thumb. It’s flush mounted and requires very positive action which tends to show up on your footage, on the plus side it’s difficult to press accidentally.

On the back panel the 3 inch LCD screen is hinged at the top which means you can flip it not just up for waist-level shooting, but over into a forward-facing position for selfies. The only drawback of the top hinge configuration is the screen can’t be folded down, but you can always turn the camera upside down to hold it over your head.

The screen has a resolution of 460k dots and provides a detailed view, but it suffers badly in bright sunlight and I often found myself in situations where I couldn’t make out very much at all. It has manual brightness control though, and increasing the brightness does help a little. Both the Canon EOS T5 / 1200D and Nikon D3300 have fixed screens. The former shares the A5000’s 460k dot resolution, the latter is more detailed with 921k dots and both are more visible outdoors, but both are also fixed and cant be repositioned or faced forward.

Of course what a DSLR does have that’s missing on an entry-level mirrorless camera like the A5000 is a viewfinder. If the conditions become too bright, or you prefer the privacy or stability of composing with a camera held to your face, then you can simply switch to composing with the viewfinder on a DSLR. Plenty of higher-end mirrorless cameras also sport viewfinders, albeit electronic as oppose to optical, but the A5000 doesn’t have one, and more importantly there’s no means to connect an optional viewfinder accessory. So with the A5000 you’ll be composing with the screen only. Is this a big deal? It will be for some people, but not for others – but it’s certainly a factor you’ll need to consider carefully when choosing a camera at this price point. The A5000 is very compact and affordable, but the trade-off is no built-in viewfinder, nor any means to connect one.

The rear controls on the A5000 have been simplified at the cost of some of the NEX-3Ns customization options. In place of the soft keys there are now labelled single-function buttons for the menu system, playback and help/delete. As before, control wheel cardinal positions are devoted to display overlays, ISO and drive modes, but the bottom position now activates Photo Creativity mode when in Intelligent Auto and Superior Auto modes.

The A5000 has separate compartments for the battery and card, the latter on the left side behind a plastic door that runs the length of the camera body. This is also where the USB and mini HDMI ports are located. The USB port also doubles as an accessory port, supporting options including the VPR1 cabled-remote control.

The battery compartment is conventionally located in the grip and accessed by a door in the camera base. The A5000 takes an NP-FW50 battery with a rating of 1020 mAh which provides enough power for 420 shots under standard CIPA conditions; as an Info Lithium pack, the A5000 can display an accurate percentage remaining on-screen.

The A5000’s battery is recharged in-camera over USB using the supplied AC adaptor, though you can use any other USB adapter you have handy, or simply connect the USB cable to a laptop or vehicle port. Sony offers an optional external AC charger, the BC-TRW.

The ability to top-up or recharge over USB is very useful, but it’s important to point out with full-time Live View composition, mirrorless cameras like the A5000 will typically burn through their battery charge faster than a DSLR which can switch to an optical viewfinder. Indeed Nikon claims 700 shots per charge from the D3300, while Canon claims 500 from the EOS T5 / 1200D; note when either the D3300 or T5 / 1200D are shooting in Live View with their screens though, this figure will drop considerably.

Sony A5000 lens and stabilisation

The Sony A5000 is equipped with an E-mount, which with the camera’s APS-C sized sensor, applies a 1.5x field reduction to all lenses. At the time of writing Sony offered 15 native E-mount lenses (nine zooms and six primes) with focal lengths between 10 and 210mm (15 and 315mm equivalent); note three of the 15 lenses are variations of the popular 18-200mm though. In addition you can mount any of the five native FE lenses designed for the full-frame Alphas without an adapter, although again with the 1.5x crop factor.

Sony A5000 with 16-50mm wide

Sony A5000 with 16-50mm tele

16-50mm at 16mm (24mm equiv)16-50mm at 50mm (75mm equiv)

The Alpha A5000 is typically sold in a kit with the SELP1650 16-50mm f3.5-5.6 Power Zoom lens, a retractable design which when powered-down collapses to just over 30mm thick. Combined with a light weight of just 116g, this allows the A5000 to enjoy a compact form factor that’s much more portable than when fitted with the earlier 18-55mm kit zoom. The 16-50mm also offers a more useful equivalent range of 24-75mm: the difference between the telephoto (75mm vs 83mm) end is negligible, but at the wide-end, 24mm captures a noticeably bigger field than 27mm. You can see an example of the coverage above.

As a power zoom, the 16-50mm enjoys motorised control over its focal length using a slider on the side of the barrel or the zoom collar on the A5000’s shutter release. If the camera is set to AF, the single ring on the barrel can alternatively be used to adjust the zoom. If the camera is set to manual focus this ring switches its function to focusing.

Sony A5000 shooting modes

Lacking a mode dial, the Sony A5000’s shooting modes are selected from a menu activated by pressing the centre button on the control wheel. In addition to the PASM modes the virtual mode dial displays two fully auto modes, SCN for the Scene modes, Sweep panorama and Movie mode.

Intelligent Auto employs scene recognition to identify the subject and set an appropriate scene mode. The A5000 can tell if the camera is on a tripod, allowing longer exposure times, or if there’s motion in the frame, in which case it will increase the ISO sensitivity and use a faster shutter speed to arrest the movement. In Superior Auto mode the A5000 takes a burst of images and combines them into a single composite shot with improved dynamic range.

Switch the mode dial to the SCN position and you have the choice of 9 scene modes, though most people will be happy with selecting Intelligent or superior Auto and letting the A5000 choose a screen mode for them. If you prefer to make the choice yourself, the composite Hand-held Twilight and Anti Motion Blur are retained along with the other regulars including Portrait, Sports Action and Sunset.

The D-R menu is where you’ll find the Dynamic Range Optimiser (DRO) and in-camera HDR options, the former available in Auto or set Levels of one to five, and the latter available as Auto or in increments of one to six EV. The HDR mode takes three images at the desired interval and combines them in-camera into a single JPEG file, and you can trigger it with a single shutter press or a self-timer. If you have RAW or RAW+JPEG selected, the HDR options are greyed-out.

You can also access the drive modes via the menu, but a quicker way is to press the right position on the control wheel. As well as self-timer and continuous shooting options, here you’ll find decent auto bracketing for a camera in this class. Continuous 3-frame auto exposure bracketing is provided up to +/- 3EV in 1/3EV intervals. Auto white balance and DRO bracketing are also available.

For those who don’t feel ready to venture into PASM territory unguided, pressing the down button on the four-way controller while in Intelligent or Superior Auto mode accesses the Photo Creativity modes. These provide a simple slider interface for adjusting background defocus (depth of field) brightness (exposure) colour (white balance) and vividness (saturation) as well as another route to the Picture Effect filters.

Only some of the Picture Effects are available in the Auto modes, though, if you want the full set you need to set the mode dial to one of the PASM positions and hit the menu button. The full range of effects is wider than previously and includes Toy camera Pop colour, Colour posterisation, Black and white posterisation, Retro photo, Soft high key, Partial colour (Red, Green, Blue, and Yellow), High Contrast mono, Soft focus, HDR painting, Rich tone mono, Miniature, Watercolour, and Illustration.

As they go, some of the effects are pretty cool, and many of them can now be previewed on the screen, so you can see what you’re about to get and there’s no longer any danger of potentially ruining a days shooting by forgetting to turn the feature off when you’ve finished with it. It’s just a shame that Picture effects are disabled in RAW mode so there’s no unfiltered version to fall back on if you decide you don’t like the result.

Above I’ve shown two of the Picture Effects on the A5000 that offer some degree of variation – both the HDR painting and Illustration effects are available in three strength settings – low, medium and high.

Finally, we can’t talk about a Sony camera’s shooting modes without mentioning panoramas. The A5000 features the iSweep panorama feature, which provides several panorama modes including full 360 degree panoramas measuring a maximum 11,520 x 1080. Sony was the first to include panorama features on its compacts and it remains the best. Its panorama modes are versatile, allowing you to shoot in portrait or landscape orientation in either direction and the results are excellent. Here’s an example below.

6.1MB, Sweep Panorama, 1/100, f/11.0, 100 ISO, 16-50mm at 17.0 mm (25mm equivalent)

Click image to access original at Flickr

Sony A5000 movie modes

The Sony A5000 supports 1080p movies with full exposure control and allows continuous autofocus using the contrast-detect AF system. Audio is recorded using the built-in stereo microphones. With the A5000 set to AVCHD encoding, you can choose 1080 50i or 60i (depending on region) at 24 or 17 Mbit/s, or 1080 25p / 24p (depending on region), again at 24 or 17 Mbit/s. Switch the A5000 to MP4 encoding and you can choose between 1440×1080 at 12 Mbit/s or VGA at 3 Mbit/s.

You can also apply some but not all of the Picture Effects. Toy Camera, Pop Colour, Posterisation, Retro, High Key, Partial Colour and High Contrast Mono are all available for movies, but the more processor intensive Soft Focus, HDR Painting, Rich Tone Mono, Watercolour, Illustration and Miniature are not allowed. There’s also no slow motion options, but then that’s par for the course for system cameras and DSLRs at the moment.

Sony A5000sample video 1: outdoors, Sunny, handheld pan
Download the original file (Registered members of Vimeo only)
This clip, like the others below was shot using the 1080p25 setting on the A5000. The exposure is spot on and the stabilization does a good job, particularly when zoomed in. The autofocus is also well behaved with no jumping around either during the pan or zoom section.
Sony A5000sample video 2: outdoors, sunny, tripod pan
Download the original file (Registered members of Vimeo only)
For this tripod-mounted shot the stabilization was disabled. The A5000 once again makes a good job of the exposure, though unfortunately this clip is marred by a speck of sensor dust. It wasn’t visible when I reviewed the clip on the A5000’s screen but I was able to subsequently remove it with a blower. The autofocus is accurate, but steady, though in the absence of other sounds the zoom motor unfortunately sounds a bit like a bag of spanners.
Sony A5000sample video 3: indoors, low-light, handheld pan
Download the original file (Registered members of Vimeo only)
The quality of this indoor clip is very good with little evidence of noise and warm, saturated colours. The stabilization keeps things nice and smooth and the auto focus is very well behaved too.
Sony A5000 sample video 4: indoors, continuous AF
Download the original file (Registered members of Vimeo only)
To test the continuous AF performance of the A5000 I set Aperture Priority mode, zoomed in a little and set the aperture to the widest available setting. I then panned from the close-up coffee cup to the bar and back again several times. The A5000’s contrast detect AF makes a good job of this, altering the focus quickly and smoothly – it’s usually refocussed on the bar before the end of the pan. There’s a little hesitation and overshooting at the end, but overall this is a good result.

Sony A5000 Wifi

The Sony A5000 has built-in Wifi as well as NFC for fast and painless Wifi connection using a suitably equipped phone. I tested the Wifi on the A5000 with my iPhone 4S. To transfer photos and videos to iOS devices you first need to establish a Wifi connection by selecting the camera’s SSID as an access point and entering the password (if you’re lucky enough to have an NFC-capable phone, you just tap the two devices to initiate the Wifi connection). Then you need to launch the PlayMemories mobile app. Transferring a single image or a batch from the camera is very straightforward, you can either select them on the camera, or on the smartphone app and they transfer pretty smartly, although this will obviously depend on your own particular setup.

You can set the image size to VGA, 2M or original and I found original images took around eight seconds to transfer. When you display the contents of the camera card on an iOS device they’re categorized by date which makes finding what you’re looking for easier than scrolling through a forest of thumbnails. Movie files are displayed as well as stills and AVCHD files are greyed so they can’t be wirelessly transferred, but MP4 transfer is supported. So it’s possible for example to shoot a short movie and upload it to Youtube via your phone.

The A5000 also supports transferring photos and MP4 video to your computer wirelessly with both devices connected to the same access point. To set this up you’ve first got to connect the camera to your computer with a USB cable and register it. The Wifi features are aren’t as sophisticated as some, for example there’s no direct connection to sharing sites and it’s a little disappointing that you can’t use your phone’s GPS to tag images with location data. Having said that, Wifi connectivity is one of the big advantages the A5000 enjoys over the Nikon D3300 and Canon EOS T5 / 1200D.

The A5000 can also be controlled remotely using a smartphone. This requires the free Smart Remote app to be installed on the camera though unusually it isn’t embedded as it is, for example, on the A6000 and the HX400V. So before you can enjoy the pleasures of remote shooting you’ll need to rester on the Playmemories website and download the app to the camera. You can do this either on a computer or directly from the camera. A word of warning though, Sony has done a good joob making the app search and download process simple and straightforward, but it’s still a chore to complete the sign-in username and password using an on screen keyboard. If ever there was a process designed to make you long for a touch-screen it’s this.

With the app installed and the two devices connected over Wifi you’re ready to control the camera and take shots using the PlayMemories app. The functionality of the Playmemories app seems to vary depending on the camera model, but I’m happy to report the the the A5000 supports exposure control and more. So long as the camera’s set to the appropriate mode, you can adjust the aperture, shutter speed, ISO sensitivity and White Balance, along with tapping the live image to move the singe AF area.

So far so similar to the Wifi capabilities of other cameras, but what really sets Sony apart from the rest is being able to connect to the Internet and download apps to extend the capabilities. Sony now offers 15 apps, some free of charge, some costing up to $9.99. There’s also a selection of apps in Beta which are free to download. I believe the API for creating your own apps is now open, but I don’t know of any third party apps, such as support for Twitter or Instagram.

The first step to downloading a new app starts by creating an account on the PlayMemories site at playmemoriescameraapps.com. Once you have an account set up there are two ways to browse and download apps. You either can do it using a free download tool running on your computer with the camera connected over USB, or you can do it direct from the camera itself. If you’re going for the direct approach from the camera, you’ll first need to connect it to the internet via an access point. Manually entering SSIDs and passwords using a non-touchscreen can be laborious to say the least, but once entered the camera can remember them and connect with a click at a later date.

You already know about the pre-installed Smart Remote app. The next app most people will install is the free Direct Upload app, which lets you upload images direct from the camera to various online services. At the time of writing it only supported three services: Sony’s own PlayMemories site (of course), along with Facebook and Flickr, the latter added by installing an additional free app. When uploading to any of the services it’s possible to add a caption, although again it’s a laborious process using the cross keys to enter text on the on-screen keyboard – this would have been so much easier with a touch screen. It all works though and also appears to go direct to the service as opposed to most other manufacturers who share images via their own services. I just wish there were more services available, such as Twitter and Instagram, not to mention a quicker way to enter captions. As it stands, it’s easier and much more flexible to just wirelessly copy an image to your phone, tap out a caption and share it to any service you like.

There’s also a few missed opportunities. The A5000 has pretty average auto exposure bracketing for example, so that’s something an app could improve, and lo-and-behold there’s the Bracket Pro app for $4.99. But inexplicably this doesn’t equip the A5000 with better exposure bracketing. Instead it ignores the chance to improve AEB and instead offers shutter, aperture, focus and flash bracketing. I don’t know about you but I’ve never felt the need to bracket any of those things, and while I’m no fan of HDR myself, I know there are many photographers who would have happily paid for the chance to improve the camera’s AEB capabilities. Bizarrely this was something myself and many other reviewers commented on when Bracket Pro was first introduced over a year ago, yet there’s still no dedicated toolbox app for HDR photographers. Maybe it’s up to third parties to develop one?

So while I love the idea of expanding the capabilities of a camera using downloadable apps, I feel the concept is far from fulfilled on the A5000 and other Sony cameras. Bracket Pro desperately needs deeper AEB, Direct Upload must include at least Twitter and Instagram, and things like Timelapse, Multiple Exposure and Multi Frame NR should arguably already be included on a camera of this class. There should also be an official means to tag images with a GPS log made by your phone.

But again it seems a little churlish to complain about the quality and breadth of downloadable apps on a camera that comes with built-in Wifi, when rival DSLRs don’t even have Wifi to start with.

Sony A5000 Handling and Sensor

The A5000 is a camera that’s ideally suited to compact and smartphone upgraders, in fact in many ways it’s a much easier transition to make than to a DSLR. There’s the compact size, of course, which makes for a much more manageable transition to the world of interchangeable lens photography. The A5000’s control layout bears much more of a resemblance to a compact than that of a DSLR and the absence of a mode dial has less of an impact than you might expect. Pressing the centre button on the control wheel activates a virtual mode dial on the screen which, though not as fast and direct as a physical knob, comes a pretty close second.

While we’re making comparisons with DSLR’s one of the areas in which the A5000 doesn’t score particularly well is customization. The older NEX-3N with it’s customizable soft buttons did much better in this respect. But the redesigned menu system with it’s tabbed pages is a big improvement on the endless scroll system of earlier models.

Unlike the more expensive A6000 which has a hybrid phase / contrast detect AF system, The A5000 is equipped with contrast detect only auto focus. You can choose between 25-area , centre or a moveable ‘flexible’ spot with three sizes. There’s also a tracking option called ‘Focus Lock, which is activated by pressing the central button on the control dial. Focus modes include AF-S (Single-shot AF), AF-C ( Continuous AF), DMF (Direct Manual Focus), and Manual Focus, the latter with the option of peaking.

In practice I found the A5000’s focus in good light was swift and precise. In AF-S mode it’s quick to acquire targets and the 16-50mm lens responds very quickly. In poorer lighting conditions, however, the A5000 is less sure of itself. In the church that I use for high ISO testing it was significantly slower than the Nikon D3300, but it did manage to acquire focus consistently and accurately in AF-S mode with flexible spot AF area mode.

The Sony A5000 has an 20.1 Megapixel APS-C sensor that produces images with a maximum size of 5456 x 3632 pixels. Its ISO sensitivity range is from 100 to 16000 ISO. It saves images as JPEG files at one of two quality/compression settings and at the best quality Fine setting image size is on average around 3 to 7MB. It can also save files in Sony’s ARW RAW format.

To see how the quality of the Sony A5000 measures-up in practice, take a look at my Sony A5000 quality and Sony A5000 noise results pages, browse my Sony A5000 sample images, or skip to the chase and head straight for my verdict.

Page 2

Sony A5000 vs Nikon D3300 JPEG

To compare real-life performance I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their best quality JPEG settings.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens.

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode.

For this test the cameras were mounted on a tripod and image stabilisation was disabled. RAW results follow on the next page.

The image above was taken with the Sony A5000. The camera was set to Aperture Priority mode and at f5.6 metered an exposure of 1/800 with the sensitivity set to 100 ISO. The Nikon D3300, also set to f5.6 metered the same exposure – 1/800 at 100 ISO.

Before we get to the crops, just a couple of things to note about the respective sensors in the A5000 and D3300. The A5000’s 20.1 Megapixel sensor produces crops with a larger area and smaller detail than those of the 24.2 Megapixel D3300. The second thing worthy of note is that the D3300 has no optical low pass filter. So with a higher pixel count and no OLPF you might expect the Nikon D3300 to deliver more detail. Lets see if that’s the case.

In the first crop, from close to the left edge of the frame the crop from the D3300 certainly looks a little sharper, but I wouldn’t say there’s more detail there. Despite selecting the same exposure the D3300 crops look a little darker and there’s less shadow detail. So, though the detail in the top half of this crop is sharper on the D3300, the bottom is inconclusive.

In the second crop from closer to the middle of the frame I think the D3300 does better than the A5000 with not only sharper edges but more fine detail. Compare the front face of the church tower and the roofs of the buildings in the foreground. Interestingly, though, in the next crop the situation is reversed and here the Sony A5000 delivers sharper edges with more detail visible in the lightouse and its rocky island. The same is true of the fourth crop, with softer detail from the Nikon D3300 and the A5000 looking a lot sharper in comparison.

It seems likely that what were seeing here is more to do with the limitations of the respective kit lenses on these two models than their sensors. If you take the second crop in isolation, the D3300 has a little bit of an edge, but there’s not a lot in it. It suggests that both sensors are probably capable of delivering more detail with a better lens. Of course with entry levels models like these it’s likely that the kit lens is going to be the main and possibly the only option for many people.

I shot this in RAW+JPEG and you can find out how the former looks in my Sony A5000 RAW quality results. Alternatively, to see how they compare at higher sensitivities check out my Sony A5000 noise results.

Sony A5000 vs Nikon D3300 RAW quality

To compare real-life RAW performance I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their RAW modes.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode. For this test the cameras were mounted on a tripod and image stabilisation was disabled.

In my comparison below you can see how the Sony A5000 compares against the Nikon D3300 when both cameras are set to RAW and their images processed with Adobe Camera RAW using identical settings: Sharpening at 50 / 0.5 / 36 / 10, Luminance and Colour Noise Reduction both set to zero, the White Balance set to 5500K / +10 tint, and the Process to 2012 with the Adobe Standard profile; ACR loaded lens profiles for both images and I enabled their correction along with CA correction. The high degree of sharpening with a small radius enhances the finest details without causing undesirable artefacts, while the zero noise reduction unveils what’s really going on behind the scenes.

Before we get to the crops, just a couple of things to note about the respective sensors in the A5000 and D3300. The A5000’s 20.1 Megapixel sensor produces crops with a larger area and smaller detail than those of the 24.2 Megapixel D3300. The second thing worthy of note is that the D3300 has no optical low pass filter. So with a higher pixel count and no OLPF you might expect the Nikon D3300 to deliver more detail. Lets see if that’s the case.

This is a very interesting result in light of what we saw from the JPEGs on the previous page where the D3300 looked marginally better in the middle of the frame but worse than the A5000 in the other crops. In these RAW crops the A5000 produces superior results to the D3300 across the board with sharper edges and better definition in all the crops. There’s a little bit of softness in the final A5000 crop, but its results are much more consistent than the D3300’s which are better in the middle than at the edges. But if you compare the two 2nd row crops from close to the centre of the frame, where lens quality is less of a factor, there’s clearly more detail in the A5000 crops. But once again, both models are being held back by their respective kit lenses here.

Next check out my Sony A5000 noise results, followed by my Sony A5000 RAW noise analysis, or skip to my Sony A5000 sample images or my verdict.

Sony A5000 vs Nikon D3300 noise RAW

To compare RAW noise levels under real-life conditions, I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their RAW modes at each of their ISO sensitivity settings.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens.

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode. For this test the cameras were mounted on a tripod and image stabilisation was disabled.

In my comparison below you can see how the Sony A5000 compares against the Nikon D3300 when both cameras are set to RAW and their images processed with Adobe Camera RAW using identical settings: Sharpening at 50 / 0.5 / 36 / 10, Luminance and Colour Noise Reduction both set to zero, the White Balance set to 4500K, and the Process to 2012 with the Adobe Standard profile; ACR loaded lens profiles for both images and I enabled their correction along with CA correction. The high degree of sharpening with a small radius enhances the finest details without causing undesirable artefacts, while the zero noise reduction unveils what’s really going on behind the scenes.

As with the outdoor test crops, these RAW high ISO noise crops make for interesting viewing given what we saw with the JPEGS. As then, both models get off to a good start with clean 100 ISO crops, and, as before there are very marginal increases in noise at each 1EV step up the sensitivity scale. At 800 ISO there is a more marked increase in the noise than we saw in the JPEGS, so this is the point at which in-camera noise processing starts to work its magic, both sets of crops are still pretty evenly matched here.

Here’s where it starts to get interesting, at 1600 ISO it looks like the A5000 crop is a tiny bit noisier than the D3300 one. At 3200 ISO there’s no doubt though, the A5000’s sensor is producing more noise than D3300. From here on up the gap gets a little wider with every step, and by 12800 ISO, though both crops look pretty awful, there’s about a stop difference.

Now head over to my Sony A5000 sample images to see some more real-life shots in a variety of conditions, or head straight for my verdict.

Sony A5000 vs Nikon D3300 Noise JPEG

To compare noise levels under real-life conditions, I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their best quality JPEG settings at each of their ISO sensitivity settings.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens.

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode. For this test the cameras were mounted on a tripod and image stabilisation was disabled. RAW noise results follow on the next page.

The image above was taken with the Sony A5000. The A5000 was set to Aperture Priority exposure mode and at f5.6 metered an exposure of 0.8s at its base 100 ISO sensitivity setting. The Nikon D3300, also set to f5.6 in Aperture Priority mode and 100 ISO metered the same 0.8s exposure. As usual, the crops are taken from the area marked in red above.

In the crops below we’re comparing the 20.1 megapixel sensor of the Sony A5000 alongside the 24.2 megapixel sensor of the Nikon D3300. The latter’s crops therefore show a smaller area with larger image detail. Both cameras selected the same exposure for this scene, but the D3300’s have a slightly warmer white balance.

With the same size sensor and a higher pixel count you might expect the Nikon D3300 to be noisier than the A5000, but casting your eye up and down the two columns of crops here what’s most striking is the similarity in terms of noise levels. Both models start out with very clean looking crops at 100 ISO, and as you progress up the sensitivity scale and down the table the increase in noise levels is very slight. So slight, that you have to look closely to spot the difference between adjacent crops – 200 ISO isn’t only just perceptibly noisier than 100 ISO, 400 ISO only slightly up on 200 ISO. It’s actually a little easier to spot the difference if you make a 2EV jump – 100 to 400 ISO, but even then, there isn’t a big hike in the noise levels.

Both models maintain impressively low noise levels right up to 1600 ISO where they’re both still looking very similar. Beyond that, they still look pretty good even at 3200 ISO. At 6400 ISO the noise is becoming more intrusive and in the first sign of difference, the A5000 does look a tiny bit clumpier than the D3300 crop. The same is true of 12800 ISO and the A5000 crops also begin to look more desaturated, though that might just be a consequence of the warmer colour balance in the D3300 crops.

So at the very top of the ISO sensitivity range the Nikon D3300 would appear to have a bit of an advantage over the lower resolution A5000, but below 6400 ISO there really isn’t anything in it.

While the D3300 tops out at 12800 ISO compared with 16000 ISO on the A5000, the latter offers composite modes that produce lower noise results at high ISO settings including Handheld Twilight mode which sets the ISO automatically. It’s a little disappointing not to see Multi Frame Noise Reduction, which allows you to set the ISO manually, included, though you can always install the app for the cost of a few dollars.

Now head over to my Sony A5000 RAW noise results, or my Sony A5000 sample images, or skip straight to my verdict.

www.cameralabs.com

Sony A5000 Review - Specifications

Model Name: Prices: Manufacturer URL: Predecessor: Successor: Model Number: Alternate Model Number(s): Camera Format: Currently Manufactured: Retail Price: Street Price: Date Available: Tripod Mount: Weight: Size: Waterproof: Waterproof Depth: Sensor Type: Sensor Manufacturer: Effective Megapixels: Sensor Format: Sensor size: Approximate Pixel Pitch: Focal Length Multiplier: Aspect Ratio: Color Filter Type: Anti Aliasing Filter: Self-Cleaning: Sensor shift image stabilization: On-Sensor Phase Detect: DxO Sensor Score: DxO Color Depth Score (bits): DxO Dynamic Range Score (evs): DxO Maximum Effective ISO Score (iso): Image Resolution: Image File Format: Continuous-mode frames/second: Can take movies: Movie Resolution: Movie File Format: Composite Video Out: NTSC/PAL Switchable Video: Video Usable as Viewfinder: HD Video Out: HD Video Connection: Lens Mount: Lens: Focal Length (35mm equivalent): Focal Length (actual): Zoom Ratio: Aperture Range: Integrated ND Filter: Normal Focus Range: Macro Focus Range: Filter Thread: Thread Type: Optical Image Stabilization: Digital Zoom: Digital Zoom Values: Auto Focus: Auto Focus Type: Auto Focus Assist Light? Manual Focus: Viewfinder: Viewfinder Type: Focus Peaking: EVF Resolution: Viewfinder Magnification (35mm equivalent): Viewfinder Magnification (nominal/claimed): Eye-level Viewfinder: Rear Display: Rear Display Size (inches): Rear Display Resolution: Touchscreen: Articulating Screen: Tilt Swivel Screen: Selfie Screen: Max Playback Zoom: Top Deck Display: Maximum ISO (native): Minimum ISO (native): ISO Settings: Auto ISO Mode: White Balance Settings: Shutter Speed Range: Bulb Mode: Exposure Compensation: Metering Modes: Program Auto Exposure: Aperture Priority: Shutter Priority: Full Manual Exposure: Creative Exposure Modes: Self Timer: Time Lapse (intervalometer): High Resolution Composite: Built-in Flash: Flash Modes: Flash Guide Number (ISO 100): Flash Range Description: Max Flash Sync: Flash Exposure Compensation: External Flash Connection: Built-In Wireless Flash Control: Usable Memory Types: UHS Support: Other Memory: Dual Card Slots: RAW Capture Support: Uncompressed Format: Movie File Format: Included Memory: Included Memory Type: Built-In Wi-Fi: NFC: Bluetooth: Built-In GPS: Microphone Jack: Headphone Jack: External Connections: PictBridge Compliant: DPOF Compliant: Remote Control: Remote Control Type: Connections (extended): Cycle time for JPEG shooting in single shot mode (seconds per frame, max resolution): Cycle time for RAW shooting in single shot mode (seconds per frame): Buffer size for RAW shooting in single shot mode (frames): Cycle time for RAW+JPEG shooting in single shot mode (seconds per shot): Camera penalizes early shutter press? JPEG shooting speed in burst mode (fps, max resolution): Buffer size for JPEG shooting in burst mode (frames, max resolution): RAW shooting speed in burst mode (fps): Buffer size for RAW shooting in burst mode (frames): RAW+JPEG shooting speed in burst mode (fps): Buffer Size for RAW+JPEG shooting in burst mode (frames): Shutter lag (full AF, wide/mid): Shutter lag (full AF, tele): Shutter lag (full AF, live view - DSLR): Shutter lag (prefocused, live view - DSLR): Shutter Lag (manual focus): Shutter lag (full AF, with flash): Shutter Lag (prefocused): Shutter Lag (notes): Startup Time: Play -> Record Time: Flash cycle time, full power: Battery Life, Stills (CIPA Rating Monitor/Live View): Battery Life, Still (CIPA Rating OVF/EVF): Battery Life, Video: Battery Form Factor: Usable Battery Types: Batteries Included: Battery Charger Included (dedicated charger or AC/USB adapter): Dedicated Battery Charger Included: Internal Charging Supported: Included Software: OS Compatibility: Notes & Features:
Sony Alpha ILCE-A5000 
Compare Prices
Manufacturer website Sony Alpha ILCE-A5000 webpage
Sony NEX-3N NEX-3N vs A5000
 
A5000
ILCE-5000
Compact System Camera
No
$599.99
$298.00
2014-03-15
Yes
13.7 oz (388 g) includes batteries, kit lens
4.3 x 2.5 x 1.4 in. (110 x 63 x 36 mm)
No
n/a
CMOS
Sony
20.1
APS-C
357.28mm2 (23.20mm x 15.40mm)
4.25 microns
1.5x
3:2
RGBG
Fixed
Yes
No
No
79
23.8
13.0
1,089
5456 x 3632 (19.8 MP, 3:2), 5456 x 3064 (16.7 MP, 16:9), 3872 x 2576 (10.0 MP, 3:2), 3872 x 2176 (8.4 MP, 16:9), 2736 x 1824 (5.0 MP, 3:2), 2736 x 1536 (4.2 MP, 16:9), 12416 x 1856 (23.0 MP, Other), 8192 x 1856 (15.2 MP, Other), 2160 x 5536 (12.0 MP, Other),

2160 x 3872 (8.4 MP, Other)

JPEG, RAW (12-bit ARW 2.3), RAW+JPEG
3.3
Yes
1920x1080 (60i or 24p (24/​17Mbps)) 1440x1080 (30p/​12Mbps)

640x480 (30p/​3Mbps)

AVCHD 2.0 / MP4; Audio: Dolby Digital (AC-3) / MPEG-4 AAC-LC, stereo
No
n/a
n/a
Yes
HDMI
Sony E
Sony SELP1650 PZ 16-50mm f/3.5-5.6 OSS; 9 elements in 8 groups, 4 aspheric surfaces
24 - 75mm
16 - 50mm
3.13x
f/3.5 - f/22 (W) / f/5.6 - f/36 (T); 7-blade circular aperture
No
25 cm to Infinity 9.8 in to Infinity
 
40.5mm
n/a
Yes
Yes
Up to 4x; up to 2x Clear Image Digital Zoom
Yes
Contrast-detect AF: Multi Point (25 points)/ Center-weighted/ Flexible Spot (S/M/L)/ Zone
Yes
Yes
No / LCD
 
Yes
n/a
 
 
No
Yes
3.0
460,800 dots (153,600 px)
No
Yes
No
Yes
15.1x
No
16000
100
Auto (100-16000), 100, 200, 400, 800, 1600, 3200, 6400, 12800, 16000
Yes
Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent, Flash, Custom, Color Temp./ Filter (2500-9900K with 15-step Magenta/Green compensation)
1/4000 - 30 sec
Yes
+/- 3.0EV in 0.3EV steps
1200-zone Evaluative Multi-segment, Center-weighted, Spot
Yes
Yes
Yes
Yes
Scene Modes: Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night Scene, Hand-held Twilight, Anti Motion Blur; Sweep Panorama; Picture Effects: Posterization (Color, B/W), Pop Color, Retro Photo, Partial Color (R, G, B, Y), High Contrast Monochrome, Toy Camera, Soft High-key, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor, Illustration; HDR; DRO
2 or 10; 3 shots after 10 seconds
 
No
Yes
Flash off, Auto flash, Fill-flash, Slow Sync., Rear Sync. Red-eye reduction: On/Off
4.0 m / 13.1 ft.
Lens dependent; GN = 6m (ISO 200) / 4m (ISO100)
1/160
+/- 2.0 EV in 0.3EV steps
n/a
No
MS PRO Duo / SD / SDHC / SDXC
UHS-I
 
No
Yes
RAW (12-bit ARW 2.3), RAW+JPEG
AVCHD 2.0 / MP4; Audio: Dolby Digital (AC-3) / MPEG-4 AAC-LC, stereo
No memory included
 
Yes
Yes
No
No
No
No
USB 2.0 High Speed,WiFi
No
Yes
Yes
Via Wi-Fi or optional wired RM-VPR1
Multi Terminal/Micro USB (with remote support)
0.78
0.81
Unlimited
1.04
No
3.3
15
2.5
9
2.5
6
0.30 seconds
 
 
 
0.129 seconds
0.40 seconds
0.022 seconds
Full AF lag, wide-area mode = 0.291s
2.0 seconds
1.0 seconds
2.4 seconds
420 shots
 
 
Proprietary
NP-FW50 Lithium-ion rechargeable
1 x Proprietary NP-FW50 Lithium-ion rechargeable
Yes
No
Yes
PlayMemories Home, Image Data Converter 4/Remote Camera Control
Windows XP/Vista/7/8; Mac OS X 10.6 or later. (PlayMemories Home is Windows only.)
BIONZ X processor, built-in Wi-Fi with NFC. Available in silver, black or white.

www.imaging-resource.com

Sony Alpha A5000 review

Sony A5000 vs Nikon D3300 JPEG

To compare real-life performance I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their best quality JPEG settings.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens.

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode.

For this test the cameras were mounted on a tripod and image stabilisation was disabled. RAW results follow on the next page.

The image above was taken with the Sony A5000. The camera was set to Aperture Priority mode and at f5.6 metered an exposure of 1/800 with the sensitivity set to 100 ISO. The Nikon D3300, also set to f5.6 metered the same exposure – 1/800 at 100 ISO.

Before we get to the crops, just a couple of things to note about the respective sensors in the A5000 and D3300. The A5000’s 20.1 Megapixel sensor produces crops with a larger area and smaller detail than those of the 24.2 Megapixel D3300. The second thing worthy of note is that the D3300 has no optical low pass filter. So with a higher pixel count and no OLPF you might expect the Nikon D3300 to deliver more detail. Lets see if that’s the case.

In the first crop, from close to the left edge of the frame the crop from the D3300 certainly looks a little sharper, but I wouldn’t say there’s more detail there. Despite selecting the same exposure the D3300 crops look a little darker and there’s less shadow detail. So, though the detail in the top half of this crop is sharper on the D3300, the bottom is inconclusive.

In the second crop from closer to the middle of the frame I think the D3300 does better than the A5000 with not only sharper edges but more fine detail. Compare the front face of the church tower and the roofs of the buildings in the foreground. Interestingly, though, in the next crop the situation is reversed and here the Sony A5000 delivers sharper edges with more detail visible in the lightouse and its rocky island. The same is true of the fourth crop, with softer detail from the Nikon D3300 and the A5000 looking a lot sharper in comparison.

It seems likely that what were seeing here is more to do with the limitations of the respective kit lenses on these two models than their sensors. If you take the second crop in isolation, the D3300 has a little bit of an edge, but there’s not a lot in it. It suggests that both sensors are probably capable of delivering more detail with a better lens. Of course with entry levels models like these it’s likely that the kit lens is going to be the main and possibly the only option for many people.

I shot this in RAW+JPEG and you can find out how the former looks in my Sony A5000 RAW quality results. Alternatively, to see how they compare at higher sensitivities check out my Sony A5000 noise results.

Sony A5000 vs Nikon D3300 RAW quality

To compare real-life RAW performance I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their RAW modes.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode. For this test the cameras were mounted on a tripod and image stabilisation was disabled.

In my comparison below you can see how the Sony A5000 compares against the Nikon D3300 when both cameras are set to RAW and their images processed with Adobe Camera RAW using identical settings: Sharpening at 50 / 0.5 / 36 / 10, Luminance and Colour Noise Reduction both set to zero, the White Balance set to 5500K / +10 tint, and the Process to 2012 with the Adobe Standard profile; ACR loaded lens profiles for both images and I enabled their correction along with CA correction. The high degree of sharpening with a small radius enhances the finest details without causing undesirable artefacts, while the zero noise reduction unveils what’s really going on behind the scenes.

Before we get to the crops, just a couple of things to note about the respective sensors in the A5000 and D3300. The A5000’s 20.1 Megapixel sensor produces crops with a larger area and smaller detail than those of the 24.2 Megapixel D3300. The second thing worthy of note is that the D3300 has no optical low pass filter. So with a higher pixel count and no OLPF you might expect the Nikon D3300 to deliver more detail. Lets see if that’s the case.

This is a very interesting result in light of what we saw from the JPEGs on the previous page where the D3300 looked marginally better in the middle of the frame but worse than the A5000 in the other crops. In these RAW crops the A5000 produces superior results to the D3300 across the board with sharper edges and better definition in all the crops. There’s a little bit of softness in the final A5000 crop, but its results are much more consistent than the D3300’s which are better in the middle than at the edges. But if you compare the two 2nd row crops from close to the centre of the frame, where lens quality is less of a factor, there’s clearly more detail in the A5000 crops. But once again, both models are being held back by their respective kit lenses here.

Next check out my Sony A5000 noise results, followed by my Sony A5000 RAW noise analysis, or skip to my Sony A5000 sample images or my verdict.

Sony A5000 vs Nikon D3300 noise RAW

To compare RAW noise levels under real-life conditions, I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their RAW modes at each of their ISO sensitivity settings.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens.

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode. For this test the cameras were mounted on a tripod and image stabilisation was disabled.

In my comparison below you can see how the Sony A5000 compares against the Nikon D3300 when both cameras are set to RAW and their images processed with Adobe Camera RAW using identical settings: Sharpening at 50 / 0.5 / 36 / 10, Luminance and Colour Noise Reduction both set to zero, the White Balance set to 4500K, and the Process to 2012 with the Adobe Standard profile; ACR loaded lens profiles for both images and I enabled their correction along with CA correction. The high degree of sharpening with a small radius enhances the finest details without causing undesirable artefacts, while the zero noise reduction unveils what’s really going on behind the scenes.

As with the outdoor test crops, these RAW high ISO noise crops make for interesting viewing given what we saw with the JPEGS. As then, both models get off to a good start with clean 100 ISO crops, and, as before there are very marginal increases in noise at each 1EV step up the sensitivity scale. At 800 ISO there is a more marked increase in the noise than we saw in the JPEGS, so this is the point at which in-camera noise processing starts to work its magic, both sets of crops are still pretty evenly matched here.

Here’s where it starts to get interesting, at 1600 ISO it looks like the A5000 crop is a tiny bit noisier than the D3300 one. At 3200 ISO there’s no doubt though, the A5000’s sensor is producing more noise than D3300. From here on up the gap gets a little wider with every step, and by 12800 ISO, though both crops look pretty awful, there’s about a stop difference.

Now head over to my Sony A5000 sample images to see some more real-life shots in a variety of conditions, or head straight for my verdict.

Sony A5000 vs Nikon D3300 Noise JPEG

To compare noise levels under real-life conditions, I shot this scene with the Sony A5000 and the Nikon D3300 within a few moments of each other using their best quality JPEG settings at each of their ISO sensitivity settings.

For this test the 16-50mm kit lens on the Sony A5000 was zoomed in a little to match the 18mm wide angle on the Nikon D3300’s 18-55mm kit lens.

I’d previously determined that the best quality on the A5000 was produced when the aperture was set to f5.6, so both models were set to f5.6 in Aperture Priority mode. For this test the cameras were mounted on a tripod and image stabilisation was disabled. RAW noise results follow on the next page.

The image above was taken with the Sony A5000. The A5000 was set to Aperture Priority exposure mode and at f5.6 metered an exposure of 0.8s at its base 100 ISO sensitivity setting. The Nikon D3300, also set to f5.6 in Aperture Priority mode and 100 ISO metered the same 0.8s exposure. As usual, the crops are taken from the area marked in red above.

In the crops below we’re comparing the 20.1 megapixel sensor of the Sony A5000 alongside the 24.2 megapixel sensor of the Nikon D3300. The latter’s crops therefore show a smaller area with larger image detail. Both cameras selected the same exposure for this scene, but the D3300’s have a slightly warmer white balance.

With the same size sensor and a higher pixel count you might expect the Nikon D3300 to be noisier than the A5000, but casting your eye up and down the two columns of crops here what’s most striking is the similarity in terms of noise levels. Both models start out with very clean looking crops at 100 ISO, and as you progress up the sensitivity scale and down the table the increase in noise levels is very slight. So slight, that you have to look closely to spot the difference between adjacent crops – 200 ISO isn’t only just perceptibly noisier than 100 ISO, 400 ISO only slightly up on 200 ISO. It’s actually a little easier to spot the difference if you make a 2EV jump – 100 to 400 ISO, but even then, there isn’t a big hike in the noise levels.

Both models maintain impressively low noise levels right up to 1600 ISO where they’re both still looking very similar. Beyond that, they still look pretty good even at 3200 ISO. At 6400 ISO the noise is becoming more intrusive and in the first sign of difference, the A5000 does look a tiny bit clumpier than the D3300 crop. The same is true of 12800 ISO and the A5000 crops also begin to look more desaturated, though that might just be a consequence of the warmer colour balance in the D3300 crops.

So at the very top of the ISO sensitivity range the Nikon D3300 would appear to have a bit of an advantage over the lower resolution A5000, but below 6400 ISO there really isn’t anything in it.

While the D3300 tops out at 12800 ISO compared with 16000 ISO on the A5000, the latter offers composite modes that produce lower noise results at high ISO settings including Handheld Twilight mode which sets the ISO automatically. It’s a little disappointing not to see Multi Frame Noise Reduction, which allows you to set the ISO manually, included, though you can always install the app for the cost of a few dollars.

Now head over to my Sony A5000 RAW noise results, or my Sony A5000 sample images, or skip straight to my verdict.

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Sony Alpha a5000 (ILCE 5000): Digital Photography Review

Price MSRP Body type Body type Sensor Max resolution Other resolutions Image ratio w:h Effective pixels Sensor photo detectors Sensor size Sensor type Processor Image ISO White balance presets Custom white balance Image stabilization Uncompressed format JPEG quality levels Optics & Focus Autofocus Digital zoom Manual focus Number of focus points Lens mount Focal length multiplier Screen / viewfinder Articulated LCD Screen size Screen dots Touch screen Screen type Live view Viewfinder type Photography features Minimum shutter speed Maximum shutter speed Aperture priority Shutter priority Manual exposure mode Subject / scene modes Built-in flash Flash range External flash Flash modes Continuous drive Self-timer Metering modes Exposure compensation AE Bracketing WB Bracketing Videography features Resolutions Format Microphone Speaker Storage Storage types Connectivity USB HDMI Wireless Wireless notes Remote control Physical Environmentally sealed Battery Battery description Battery Life (CIPA) Weight (inc. batteries) Dimensions Other features Orientation sensor Timelapse recording GPS
$600 (with 16-50mm power zoom lens)
Rangefinder-style mirrorless
5456 x 3632
5456 x 3064, 3872 x 2576, 3872 x 2176, 2736 x 1824, 2736 x 1536
3:2, 16:9
20 megapixels
20 megapixels
APS-C (23.2 x 15.4 mm)
CMOS
Bionz X
Auto, 100 - 16000
9
Yes
No
RAW
Fine, standard
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Yes (2X)
Yes
25
Sony E
1.5×
Tilting
3″
460,800
No
TFT LCD with 180 upward tilt
Yes
None
30 sec
1/4000 sec
Yes
Yes
Yes
Yes
Yes
4.00 m (at ISO 100)
No
Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction
3.5 fps
Yes (2 or 10 secs, custom)
±3 (at 1/3 EV steps)
±3 (3 frames at 1/3 EV, 2/3 EV, 1 EV, 2 EV steps)
Yes (3-shot)
1920 x 1080 (60i/24p), 1440 x 1080 (25 fps), 640 x 480 (25 fps)
MPEG-4, AVCHD
Stereo
None
SD/SDHC/SDXC/Memory Stick Pro Duo
USB 2.0 (480 Mbit/sec)
Yes (micro HDMI)
Built-In
802.11 b/g/n with NFC
Yes (via smartphone)
No
Battery Pack
NP-FW50 lithium-ion battery and USB charger
420
269 g (0.59 lb / 9.49 oz)
110 x 63 x 36 mm (4.33 x 2.48 x 1.42″)
Yes
Yes (requires downloadable app)
None

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