X100 sounds really promising, but I still haven’t seen the sharpness I’ve been expecting from the 18/2 in the samples floating around. There’s also been more NR than I’d like in some of the high-ISO JPEG shots – I’ll be waiting to see how well the sensor really performs in RAW once samples and converters are out.
NEX 7: why should NEX be less portable than other mirrorless systems with adapted lenses? Or do you mean that legacy lenses are larger than native lenses? If legacy DSLR glass is too large, there are lots of compact (though not always cheap) rangefinder lenses – M39, M, G mounts.
EM-5: I don’t think the IQ is noticeably better than G3 so far. But it does have some advantages: metal body, weather sealing, better viewfinder (it has a progressive display unlike the G3′s field sequential display, so has 3x the real number of pixels), eye sensor, IBIS, wireless flash. I do agree that the price point is too high – I’d rather get a GH2, which although larger and heavier (and plastic), is still the video king. There are some nice macro options in m43 – ZD 50/2 w adapter, ME 45/2.8 and the upcoming Oly 60/2.8, and the HQ telezoom is coming, though it won’t be small or cheap.
All 3 competing systems have their strengths and weaknesses. As much as the X-Pro1 entices me, I can’t (personally) justify paying $2.3k+ for the camera and an extra lens to get started in a new system. And the AF, handling speed and video are classic Fuji weak points. But I’m betting it’ll have the best DR and noise characteristics of the coming generation.
NEX-7 is still hurting from the paucity of E-mount lenses, and the Zeiss 24/1.8 is very expensive. However, it has the best EVF and there are more lenses coming – hopefully, they’ll be good enough to keep up with the high resolution of the sensor, which hasn’t been true of the current lens lineup.
m43 is the dark horse entrant. It has the worst high ISO in stills, but the most mature system with the most lenses (many of which are very good). It has the fastest AF and the best video. The GH2 is the go-to choice for videographers, but you’ll have to decide if you can live with the limitations of the sensor if you’re a stills shooter.
