Sony vs. Fuji vs. Sony

Over the last six weeks a subjective camera system review took place. This comparison wasn't planned but instead presented itself when some free time for photography intersected with a borrowed camera. The result was a few shooting sessions with my Sony NEX-6 followed by a few shooting sessions with a borrowed Fujifilm EX-2 followed by a few more shooting sessions with my NEX-6.

The Setup

I've owned the NEX-6 with 16-50mm kit lens for a few years. I chose it when I was shopping for a small electronic viewfinder (EVF) camera. It is my Goldilocks camera. Small enough to carry. Large enough to outperform a compact. Until recently I didn't use it all that often. Other than the rubber viewfinder cup going AWOL (a common loss for this model) it has performed as advertised.

For a couple weeks a friend was gracious enough to offer for lend a Fujifilm EX-2 with 18-55mm kit lens. There were plenty of rumors about the greatness of the X series of cameras and I was curious.

Over the last six weeks I did not know I was conducting research for this article. I thought was just enjoying some photography time. Only after some contemplative time regarding the camera systems did this article concept come alive.

Although I'm calling this article a review it is neither thorough nor objective. I'm going to give generalized feedback on how the cameras systems handled. No resolution tests. No specification comparison charts. Just my thoughts and opinions which will be non scientific, prejudiced, and subjective.

This article includes two images of one bridge captured on two different days in differing weather at different times of day from differing perspectives. One image is from a Sony NEX-6 while the other is from a Fuji XE-2.

Some Thoughts

On the subject of quality impression the Fuji XE-2 wins. The NEX-6 hasn't gone negative here but the XE-2 has gone positive. The XE-2 just feels more precise. I must concede that neither camera suffered a test for toughness (which is appropriate with borrowed gear.)

Control location is certainly subjective and I've typically owned Canon equipment. Switching to the NEX-6 hasn't been smooth in this regard. The EX-2 seemed much better here. Despite my long relationship with Canon I quickly learned to prefer the choices made by Fuji over both Sony and Canon.

Overall the NEX-6 to EX-2 comparison feels a bit like a digital to analog comparison. Both systems provide comparable features and capabilities for a shooter of stills photography. The Sony camera makes me think it was designed by a software engineer. It has a methodical (if soul less) workability that can be learned and leveraged to work for the photographer. Fuji, on the other hand, seems to have talked first to experienced shooters of more traditional camera gear. Maybe, if my first camera hadn't been a match needle meter 35mm film camera from the 1970s, I'd be flummoxed by the Fuji controls and layout. But for my analog thought process the EX-2 seemed to be set up in anticipation of my needs.

This article includes two images of one bridge captured on two different days in differing weather at different times of day from differing perspectives. One image is from a Sony NEX-6 while the other is from a Fuji XE-2.

My Conclusion

I preferred the Fuji. Both cameras are equally capable. I was able to use both to produce the image I wanted. I've shared one image from each camera but didn't callout which camera made which photo. Readers who are curious can check instagram @dwainasaurus where the responsible camera is revealed via hashtag.

My final thought is that equally capable does not mean equitable. I have concluded that the NEX-6 is to smartphone as a EX-2 is to a rotary dial telephone. Both make voice calls. Both can be operated efficiently by an experienced user. The choice comes down which system suits your fancy.

MinoHD Testing At The Park

After Stars at Tugboat Annie's

After Monday evening racing the BISF group usually meets at Tugboat Annie's for a burger, beer, and conversation. The evening was near perfect and I snapped quite a few shots on the sail back to the marina. While waiting for my meal I noticed this fine view, pushed my camera up against the glass, and let my camera soak it in.

Looking North up Budd Inlet from Tugboat Annie's with my latest disposable, a 2.1 Megapixel Olympus C-700 Ultra Zoom.

Value

Value is relative. Today's blog may be of relatively little value. I present it, if no other reason, to entertain myself.

As a photographer I like to include images with my blog posts. Sometimes the verbage is created as an excuse to show off an image. But no image is included in today's blog to help demonstrate the value that images can add. My other blog is centered on Star boat racing. I'd like the reader to take a brief overview of my latest Star blog entry and then please return to this monolog.

The image of my pal Andy sailing the Star doesn't fit the text of the blog. Andy didn't steer during the races. The image was taken while sailing towards the racing area. It could have been of a stranger sailing on the other side of the country. But it creates value to the article by, from the top, anchoring the readers mind on a racing sailboat.

My photo geek personality finds incredible irony in the gear that we used to make images that evening. A free Sony Mavica FD75 that writes 640x480 pixel (.3 MB) images to a floppy disk! I'm not exaggerating when I report that its image quality is the poorest of any digital camera I have ever used. But those incredibly poor images and the camera that helped create them are adding value to the front page of my sailing blog. That service has kept the Mavica FD75 out of the landfill. At least until a better 'valueless' camera comes along.

The Star Newbie

Sailboat racing season is upon us. Current projects include helping a friend re-rig his San Juan 21, selling our family's Venture 25, and various Laser and Thistle races. But the biggest news on this front is my entry into Star boat racing.

The Budd Inlet Star Fleet in Olympia Washington has about twenty active boats and one of the largest local fleets in the country. I have chartered a Star and will be racing it on Monday nights from now until early September. More details on my RaceOneDesign blog.

Budget Tele Rig

Just over one year ago I met a wildlife photographer at the Nisqually National Wildlife Refuge. I was following and documenting a 3rd grade field trip. He was carrying some serious photo gear. The kind of gear hobbyists usually only see in the Canon advertisements. Later, when I viewed some of his images via the web, I could see he had the skills to use the serious gear. This meeting stirred an interest in doing some wildlife photography, but on my terms.

Because the Camerology website puts me in contact with lots of camera gear (but not serious photo gear money) I have easy access to cheap unloved gear. Just by keeping my eyes open I was able to procure most of the following gear at giveway (or less) prices.

Soligor Auto-Zoom 1:4.5 75-260mm M42 - Built like a tank. This lens is heavy, all metal, and cantankerous. The 260mm long end is equivalent to about 400mm in 35mm terms. And 400mm equivalent is considered the minimum in bird/wildlife photography. The weight of the lens aids in holding the rig steady. But having to control the zoom, focus, and aperture rings, which are spaced well apart, was challenging.

M42 to EOS Focus Confirmation Chipped Adapter - This item was the single most expensive component. And the smallest. The non chipped version of this adapter would be fine if your DSLR has been fitted with a proper manual focus style focus screen with split prism focus aid.

Canon EOS 10D - These bodies are quite cheap on todays used market. Mine was even cheaper due to a lens communication Err 99 issue.

Canon BG-ED3 Battery Grip - This item wasn't necessary. But it helped stabilize the the 10D with additional weight. And it was included with my manual focus 10D. It is also nice for those 10D owners who have original batteries that only hold a half charge.

Of course having all this stuff doesn't guarantee anything. Photography is more about skill than gear. And I'm no wild life photog. I held the rig steady enough some of the time. Returning to the Nisqually Wildlife Refuge helped as they animals are pretty accustomed to seeing visitors. Don't expect any National Geographic covers to come out of my portfolio too soon. But I found one to share.

A patient Blue Heron at the Nisqually National Wildlife Refuge waits while a fumbling photog discovers wildlife photography.

Chambers Bay Ten Legged Monster

The concrete structure in the following images is about 40 feet high and 100 feet long. The land it lives on has been reclaimed from a sand and gravel quarry and is now a (mostly) public park. When I chose to shoot this structure the goal was not to convey its size but instead to create an 'artsy' image.




(Images from a Hanimex 35mm and Soligor 75-260mm 1:4.5 m42 on my manualized Canon 10D.)

These two images represent both the image I was hoping to create and also an image that presented itself for capture. It is up to the reader to decide which is which.