8 mysteries of NEX-6 and 55–210
Got mine recently; could not find these discussed on the forum…
A) It looks like the lens hood on 55–210 should be “clickable” when it is put on in the reverse position. But it is very hard to align it “correctly”, and when it looks correctly aligned, the whole construction feels very fragile.
What am I missing?
B) It looks like a very simple device could fix the flash in the bounce-from-the-ceiling position: there are already some hooks in the flash pit, and the device can be fixed by pushing it in against the front end of the pit.
But the best shape for the device somehow is not obvious. And what to make it from: paper clips, or some piece of plastic with several angled surfaces (one to be stuck against the front end of the pit, 1 or 2 engaging the hooks, and one pushing the flash back)?
C) The exposure meter is documented to work starting from Ev0 @f/2.8, which looks to be equivalent to ½sec at ISO3200. (BTW, this matches pretty well the limit of EVF: all the details disappear when darker than 1sec at ISO3200.)
However, I cannot find any pattern of the behaviour in darkness: in some situations the auto-exposure time maxes at 1.6″ at ISO3200, in some other situations it maxes at 4″. No obvious pattern when it is 1.6sec, when 4sec. Maybe it depends on color temperature? Any idea?
Of course, it does not help that it is the scotopic vision in such darkness, so colors are not very distinguishable. (Observed via EVF, I think the LCD gives too much parasitic light.)
D) I’m a little bit lost in mapping the possible settings and the menu system. Are there places people discuss their favorite (combinations of) settings?
Do I understand correct that customization is limited only to simple-presses, and not to double-/triple-presses (and/or short/long presses) of buttons? With a couple of customizable buttons one could make an extremely convenient UI if one distinguishes second/third and/or long/short presses.…)
E) Is there a way to store presets (combinations of settings)?
F) For packrats, it is a no-brainer to choose the storage format of stills; just keep as many bytes per shot as possible. But what about video: the concerns about ridiculously low 28Mbit/sec @60fps being harmful, are they confirmed?
[AFAIU, with powerful CPUs (and best known settings of x264) 60p compresses better than 60i (per the same “perceptual quality”), and the multiple-scene-subjects/multiple-judging-subjects (;-) experiments suggest that with these “best settings” the quality (of “standard” complicated scenes) should start to saturate about 24Mbit/sec. But when the experiments were done (IIRC, about 5 years ago), these would have required an impressive lot of computing power (and electric power!) to run in realtime. And I’m not sure the results would allow quality editing.…]
So: forgetting about today’s viewing experience (assume the movies would be viewed in 10years): is it better to choose 60p storage of video, or some other format?
G) Is anything known about the sensor? Full well, noise (in e₋ at different ISOs), maximal no-digital-amplification ISO? Spacial spectrum of the noise?
H) How much brain-damaged is the (non-) RAW format? I’ve heard it is mutiliated for vignetting correction; when else? Is there noise reduction (destructive binning, etc) done on pre-RAW stage?
EDITED: And the 9th one:
9) Is there any indicating at what distance is the lens focusing now?
|Thunderheads With Egret by Buzz Lightyear|
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from After the Rain
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from A Whiter Shade of Pale