Sunday, February 20, 2011

Topaz Labs ReMask 2 plug-in updates

Topaz Labs has updated its mask 3 ReMask plug-in for Adobe Photoshop one month after its release. Version 3.1 improves processing speed and adds new menu items among other enhancements and bug fixes. Compatible with Windows and Intel-based Mac OS, is still available at an introductory price of $ 49.99 until 18 February.

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Panasonic announces Lumix DMC-TS 3 rugged compact

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Panasonic has announced the Lumix DMC-TS3 rugged compact camera (known as the FT3 in Europe), with built-in GPS, altimeter, barometer and a compass. It sports a new body design and and better waterproofing upto depths of 12m as against 10m of its predecessor the TS2. Like the TS2 it is also dustproof, shockproof against a drop of up to 2m, and freezeproof down to -10?C. The 12MP CCD-based camera with a 2.7 inch LCD and 28-128mm equiv. lens features 1080i60 HD movies (from 30p sensor output) and comes with the company's latest 3D photo mode.

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Press Release:


New LUMIX TS3 is Waterproof*1, Shockproof*2, Freezeproof, Dustproof*1, and Adds Full-HD Video Recording, a New 3D Photo Mode & Easy Facebook and YouTube Uploads

SECAUCUS, NJ (January 25, 2011) – Panasonic today introduces the LUMIX DMC-TS3, specifically designed for active users who want to capture high-quality photos and 1920 x 1080 full-High Definition videos, incorporating a powerful rugged design and new outdoor-friendly features, such as a built-in GPS function, a compass, altimeter and barometer.  The new 12.1-megapixel LUMIX TS3 further strengthens its toughness, when compared to its LUMIX TS2 predecessor,  and is now waterproof to approximately 40 feet (12m)*1; shockproof to approximately 6.6 feet (2m) *2; freezeproof to 14?F (-10 degrees C); and dustproof*1.

The Panasonic LUMIX TS3 also features the new Panasonic 3D Photo mode, which produces a realistic 3D photo by taking 20 consecutive photos and overlays the two best to create a 3D image that can then be played on a Panasonic VIERA 3D HDTV. The format of 3D images is compatible with MPO, and can also be played back on other MPO-compatible equipment such as a televisions, digital photo frames and printers.  Panasonic also adds the LUMIX Image Uploader, for seamless and instant sharing via Facebook (for digital photos) or YouTube (for videos). Users can checkmark the photo or video files they want to share, connect it to a PC with the included USB cable or by inserting the SD Memory Card directly into the PC’s SD Card slot, and then the uploading automatically launches with an easy-to-follow menu option.

“The LUMIX TS3 is Panasonic’s ‘take anywhere’ digital camera – whether it is for carefree, everyday shooting with its easy-to-use features, high-quality lens and video capabilities, or for the active user who will appreciate the rugged design in any season – for activities such as hiking, skiing, camping, diving, snorkeling,” said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “Last year’s LUMIX TS2 was a highly-regarded rugged camera and with the TS3, we just built on its success with new features, like GPS, a compass, altimeter and barometer, making this the ultimate camera for the outdoor user.”

The Panasonic LUMIX TS3 features a 28mm wide-angle LEICA DC VARIO-ELMAR lens, complete with a folded optics design. With an optical zoom up to 4.6x, the LUMIX TS3 works even while shooting video – giving the user the flexibility for a variety of different scenes – especially underwater, where movement is often restricted and the angle of view becomes important for composing shots.  Thanks to the newly incorporated Intelligent Resolution technology, the Intelligent Zoom is available and extends the zoom to 6x equivalent.

Empowered by a newly developed 12.1-megapixel Hi-Speed CCD sensor, the LUMIX TS3 is compatible with high-speed, large-capacity signal processing required for 1920 x 1080 full-HD AVCHD video recording and high speed continuous shooting. The advanced image processor, the Venus Engine FHD, powers Panasonic’s Intelligent Resolution and the Sonic Speed AF, allows for a shutter release time lag as short as approximately 0.005 second.

Beyond full-HD video recording capabilities, LUMIX TS3 excels in shooting videos with a Dolby? Digital Creator so audio quality is also high.  The built-in LED light greatly supports shooting in dark situations. The LUMIX TS3 also features a 2.7-inch, 230,000-dot Intelligent LCD screen with wide-viewing angle and Anti-Reflection coating.

Panasonic’s iA Mode, a suite of technologies that engage automatically, has evolved for more powerful image stabilization while video recording and taking still photos with Active Mode which boosts POWER OIS to excel in suppressing blur when recording videos at wide angle while walking. Other features of iA include: POWER OIS, Face Recognition, Face Detection, AF Tracking, Intelligent ISO Control, Intelligent Scene Selector and Intelligent Exposure. With iA, taking beautiful photos is possible for users at any skill level. In addition, the Intelligent Resolution technology is always activated in the iA mode, which helps produce even clearer photos by precisely performing signal processing pixel by pixel to help ensure clear and sharp images.

The newly-integrated GPS function, shows the name of the Country/Region, State/Prov./County, County/Township, City/Town/Village and Landmark by using the internal data to give users details on where the photos or videos were taken.  The area information covers 203 countries or regions for global users. Plus, more than 1,000,000 landmarks over 78 countries or regions are in the database. Using the included software PHOTOfunSTUDIO 6.1 HD Lite Edition, photos and videos can be searched by location and names. The LUMIX TS3 also features an internal clock that automatically adjusts to the local time when GPS is enabled – a handy feature for travelers.

The LUMIX TS3 will be available in March 2011 and pricing will be announced approximately 30 days prior to shipping date. The LUMIX TS3 will be available in red, orange, silver, and blue.

*1 Waterproof/dustproof performance complies with the “IPX8” and “IP6X” ratings. Provided the care and maintenance guidelines described in this document are strictly followed, this camera can operate underwater, to a depth not exceeding 12 m for a time not exceeding 60 minutes. This does not guarantee no destruction, no malfunction, or waterproofing in all conditions.
*2 Anti-shock performance complies with “MIL-STD 810F Method 516.5-Shock” of the U.S. Defense Department, which specifies performing drop tests from a height of 122 cm, at 26 orientations (8 corners, 12 ridges, 6 faces) using 5 sets of devices, and passing the 26 orientation drops within 5 devices. (If failure occurs during the test, a new set is used to pass the drop orientation test within a total of 5 devices). The camera has cleared a drop test from a height of 2 m onto 3 cm thick plywood. In most cases this camera should not sustain any damage if dropped from a height not exceeding 2 m. This drop test was passed. (Disregarding appearance change such as loss of paint or distortion of the part where drop impact is applied). This does not guarantee no destruction, no malfunction, or waterproofing in all conditions.

Sensor

• 1/2.33" Type CCD
• 12.5 million total pixels
• 12.1 million effective pixels
• Primary colour filter (RGB)

Image sizes

4:3 Aspect Ratio:
• 4000 x 3000(12M)
• 3264 x 2448 (8M)
• 2560 x 1920(5M)
• 2048 x 1536 (3M)
• 1600 x 1200 (2M)
• 640 x 480 (0.3M)

3:2 Aspect Ratio
• 4000 x 2672 (10.5M)
• 3264 x 2176 (7M)
• 2560 x 1712 (4.5M)
• 2048 x 1360 (2.5M)
• 640 x 424 (0.3M)

16:9 Aspect Ratio:
• 4000 x 2248 (9M)
• 3264 x 1840 (6M)
• 2560 x 1440 (3.5M)
• 1920 x 1080 (2M)
• 640 x 360 (0.2M)

1:1 Aspect Ratio:
• 2992 x 2992 (9M)
• 2448 x 2448 (6M)
• 1920 x 1920 (3.5M)
• 1536 x 1536 (2.5M)
• 480 x 480 (0.2M)

Movie clips

• Full HD: 1920 x 1080 pixels, 60i (Sensor output is 30p)
(FSH:17Mbps, GFS:17Mbps/ AVCHD)
• HD Movie: 1280 x 720 pixels, 60p (Sensor output is 30p)
(GS:17Mbps, SH:17Mbps/ AVCHD )
• HD Movie: 1280 x 720 pixels, 30fps Motion Jpeg
• VGA: 640 x 480 pixels, 30fps (Motion JPEG)
• QVGA: 320 x 240 pixels, 30 fps (Motion JPEG)

File formats• JPEG( Exif 2.3)
• 3D Image: MPO
• AVCHD, QuickTime Motion JPEG Lens• 4.6x Optical zoom
• 28-128mm (35mm equiv.)
• f = 4.9-22.8mm
• F3.3- 5.9
• LEICA DC VARIO-ELMAR
• 10 elements in 8 groups (5 Aspherical surfaces)Image stabilizationPower O.I.S. Lens-shift stabilizationFocus

• Normal
• Macro
• Zoom Macro
• Quick AF
• AF Tracking
• Continuous AF (only for motion picture)

Focus distance• Normal: Wide / Tele 30 cm - infinity
• Macro / Intelligent AUTO/ movie recording: Wide 5 cm - infinity / Tele 30cm - infinityISO sensitivity• Auto
• i.ISO
• 100
• 200
• 400
• 800
• 1600
• High Sensitivity Mode : Auto (1600 - 6400)Shutter speed• Still :8 - 1/1300 sec
• Starry Sky Mode : 15, 30, 60secAperture• F3.3 - 5.9 (F3.3 - 10(W) / F5.9 - 18(T))
• Iris Diagram Modes• Intelligent AUTO
• Normal Picture
• Sports
• Snow
• Beach & Snorkeling
• Under Water
• SCN
• 3D PhotoScene modes Portrait, Soft Skin, Transform, Self-Portrait, Scenery, Panorama Assist, Night Portrait, Night Scenery, Handheld Night Shot, Food, Party, Candle Light, Baby1, Baby2, Pet, Sunset, High sensitivity, Hi-Speed Burst (Image priority, Speed priority), Flash Burst, Starry Sky, Fireworks, Aerial, Pinhole, Film Grain, High Dynamic (standard/ art/ B&W), Photoframe

Color Mode• Standard
• Natural
• Vivid
• Black & White
• Sepia
• Cool
• Warm
• HappyWhite balance• Auto
• Daylight
• Cloudy
• Shade
• Incandescent
• White SetFlash

• Auto, Auto/Red-eye Reduction, Forced On, Slow Sync./Red-eye Reduction, Forced Off
• 0.3 - 5.6m (Wide/ISO Auto), 0.3 - 3.1m (Tele/ISO Auto)

LCD monitor• 2.7" TFT LCD Display, AR coat
• 230K pixels
• Power LCD mode, Auto Power LCD modeGPSYes, + Barometer, altimeter and compassConnectivity• USB 2.0 Full speed
• AV Output (NTSC/PAL)
• Micro HDMIStorage• Approximately 19MB built-in memory
• SD/SDHC/SDXC Memory CardPower• ID-Security Li-ion Battery Pack
• Charger includedDimensions104 x 64 x 27 mm
(4.07 x 2.52 x 1.04 in)


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Ricoh announces CX5 compact superzoom with hybrid AF

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Ricoh has unveiled the CX5 compact superzoom with Hybrid AF. It represents the re-introduction of an AF system that combines a distance sensor with more conventional contrast detection method to offer focus times of as little as 0.2sec regardless of focal length. Beyond this, it offers the same 10MP back-illuminated CMOS sensor, 10.7x (28-300mm equiv.) zoom lens, 920k dot 3 inch LCD and 720p HD video recording as the CX4. It's not clear how the AF system differs from the one the company used up until 2007, but it is claimed to almost double the speed of the CX4. Other new features include 'Super-Resolution' context-sensitive image processing and three additional scene modes.

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Press Release:


Offering High-speed Focus with a Hybrid AF System Compact digital camera with 10.7x optical zoom (28-300 mm)

January 26, 2011 RICOH COMPANY, LTD: (helmed by president and CEO Shiro Kondo) will be releasing its newly developed CX5 digital camera model with its wide-angle, high magnification 10.7x optical zoom (28–300 mm) lens, which has a higher autofocus speed due to the use of Ricoh's new hybrid AF system.

With the new CX5 model, AF focusing times are decreased to as low as 0.2 sec. for both wide-angle 28 mm and telephoto 300 mm, up to half as short compared to the CX4, using Ricoh's unique new hybrid AF system.

This ensures that you reliably capture the image you were waiting for, never to miss another good shot again.

Using super-resolution technology, the CX5 also allows (1) recording of images with improved resolution using the "Super-resolution" setting and (2) telephoto shooting at up to 600 mm equivalent with minimal degradation in image quality using "Super-resolution Zoom."

Furthermore, in addition to the new Cooking, Fireworks, and Continuous Golf Swing scene modes, the CX5 has improved features that make shooting photographs even more fun through the use of super-resolution zoom during Zoom Macro mode shooting and other functions.

The CX5 is an even more enhanced compact digital camera that was designed based on the concept of it being "a tool that you will find yourself wanting to use every day."

Available in three colors: Black, Silver, and Pink.

Main Features of the New CX5

High-speed autofocus using the unique hybrid AF system developed by Ricoh

Equipped with Ricoh's unique new hybrid AF system in combination with a passive AF sensor that continuously measures the distance between the camera and subject using an area sensor together with Contrast AF (a system in which the imaging elements search for the peak location for contrast on the subject and focus on that location).Enables AF focusing times to be shortened to as low as 0.2 sec. for both wide-angle 28 mm and telephoto 300 mm, up to half as short compared to the CX4 model. Ensures that you capture the image you were waiting for over the entire zoom range so that you never miss another good shot again.

Improved image resolution through use of super-resolution technology

Enables amazing photographs with high resolution to be produced using the CX5's new super-resolution technology, which discerns outlines, details, and gradations in the image automatically and processes the image based on the optimal settings for each. The level of super-resolution can be set to OFF, Weak, or Strong.

Super-resolution zoom equivalent to up to 600 mm in addition to the 10.7x 28–300 mm optical zoom

Allows a wide-angle, high-magnification 10.7x optical zoom lens to fit into a compact body with a thickness of 29.4 mm using Ricoh's unique retracting lens system. Equipped with super-resolution zoom that enables magnification of up to 2.0x. Enables telephoto shooting at up to 600 mm equivalent with minimal degradation in image quality.Enables even greater magnification of the subject from super-resolution zoom with use of digital zoom. Allows photographs to be taken with ultra-telephoto zoom at up to 2880 mm.

High-quality photography that widens the range of image expression

Offering reduced loss of detail in highlights using an output pixel interpolation algorithm residing in dedicated logic circuits in the Smooth Imaging Engine IV imaging engine to allow high-contrast scenes to be reproduced more faithfully, exactly as they appear to the naked eye. Reduces noise without affecting resolution, tone characteristics, or color using a noise reduction algorithm to process the image signal as it is output from the CMOS image sensor. Enables sophisticated variance-estimation type noise reduction processing in which the sensor image data's noise variance is analyzed and the optimum processing is done for each region when the noise reduction level is set to MAX. Equipped with a back-illuminated 10.00 million-pixel CMOS sensor. Ensures that beautiful images can be captured even in dark scenes.

14 different types of Scene Modes providing easy access to whole suites of photographic techniques specifically adapted to the subject

Comes with a new Cooking mode that is perfect for shooting photographs of food. The new Cooking mode setting enables the brightness and color tone of the scene to be adjusted while the subject is checked. Includes a new Fireworks mode that works great for taking shots of fireworks as they flash across the sky. Comes with a new Golf Swing Continuous mode that displays grid lines during shooting and playback. Perfect to use for checking your golf swing. Enables super-resolution zoom to be used in Zoom Macro mode, which optimizes the zoom position automatically to allow the subject to be shot even larger than with normal macro shooting. Allows the subject to be shot even larger without any degradation of image quality as with normal zoom.

Creative shooting modes that allow you to enjoy shooting creative images

Comes with six different types including Soft Focus, Cross Process, Toy Camera, and Miniaturize that can be selected to fit the subject and type of scene. Allows you to enjoy shooting images with a variety of effects.

High-definition 3.0-inch, 920,000-dot LCD monitor

Equipped with a large, high-definition LCD monitor that has a wide viewing angle and high contrast. With a fluorine coat to prevent soiling, a hard coat to prevent scratches, and an anti-reflection (AR) coat designed to protect the screen against dirt and damage and guarantee excellent visibility even outdoors in direct sunlight. Reproduces image colors vividly with sRGB comparison of 100% for the color reproduction range.

A wide variety of functions based on the concept of the CX5 being "a tool that you will find yourself wanting to use every day"

Equipped with new HDMI terminals. Allows high-definition (HD) movies with a frame size of 1280 x 720 pixels to be viewed on an HD TV using an HDMI cable (sold separately). Comes equipped with macro shooting functions that allow you to get as close to the subject as 1 cm for wide-angle and 28 cm for telephoto. Equivalent to 31 mm for 35-mm film equivalents.Enables high-speed continuous shooting at speeds of up to approx. 5 frames/sec. • Equipped with Scene Auto Mode, which automatically switches to the optimal shooting settings for the scene when the camera is merely pointed at a scene. Comes with Subject-tracking AF, which continuously tracks and focuses on the subject automatically. The CX5 is compatible with Eye-Fi cards (X2 Series), SD memory cards with built-in wireless LAN functionality, which enables captured images to be transferred wirelessly to a computer or online image sharing service automatically.  An icon will appear while an Eye-Fi card is being used to display the communications status.
Sensor• 1/2.3" Type CMOS
• 10.00 million effective pixels
• 10.60 total pixels
Image sizes• 3648 x 2736
• 3648 x 2432
• 2736 x 2736
• 3648 x 2048
• 2592 x 1944
• 2048 x 1536
• 1728 x 1296 (Multi-Picture only)
• 1280 x 960
• 640 x 480 Movie clips• 1280 x 720
• 640 x 480
• 320 x 240
File formats• JPEG (Exif v2.3)
• CIPA DC-007-2009 Multi-Picture Format
• AVI (Open DML Motion JPEG Format compliant)
• WAVE (Sound Files)Lens• 28 - 300mm (35mm equiv)
With Step Zoom set: 28mm, 35mm, 50mm, 85mm, 105mm, 135mm, 200mm, and 300mm
• f = 4.9-52.5mm
• 10.7x optical zoom
• F3.5-5.6
• Lens Construction: 10 elements in 7 groups (aspheric lens: 4 elements and 5 surfaces)FocusContrast AF method with AF auxiliary light
• Multi
• Spot
• Face-priority
• Multi

Contrast AF method
• Subject-tracking AF
• Multi-target AF

Fixed focus method
• Manual Focus
• Snap

Metering• Multi (256 segments)
• Centre Weighted Light Metering
• SpotISO sensitivity• Auto
• ISO 80
• ISO 100
• ISO 200
• ISO 400
• ISO 800
• ISO 1600
• ISO 3200Exposure compensation+/- 2EV in 1/3 stop incrementsShutter speed• 8 sec-1/1200 sec
• Movie : 1/30 - 1/2000 sec. Shooting modes • Auto
• Movie
• Scene auto
• Scene
• My Settings
• Continuous mode
• Creative shooting modes
Scene modes• Portrait
• Discreet
• Night. Portrait
• Night Landscape
• Multi-shot
• Sports
• Landscape
• Zoom Macro
• Pets
• Skew Correct
• High Sensitivity
• Text
• Fireworks
• Cooking
• Golf Swing Continuous ModeCreative shooting modes• Dynamic Range
• Double Shot
• Miniaturize
• High Contrast B&W
• Soft Focus
• Cross Process
• Toy CameraWhite balance• Auto
• Multi-Pattern
• Outdoors
• Cloudy
• Incandescent
• Incandescent 2
• Fluorescent
• Manual
• White Balance BracketFlash• Auto, Red-eye-Reduction, Flash On, Slow Synchro, Flash Off
• Range : Approx. 20 cm - 4.0 m (Wide), approx. 28 cm -3.0m (Telephoto)
• Flash Compensation (+/-2.0EV (1/3EV Steps)Connectivity• USB Hi-Speed
• Micro HDMI
• AV out (PAL / NTSC switchable) Storage• Internal memory 40MB
• SD, SDHC

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Just posted: Olympus XZ-1 review

Just Posted: our review of the Olympus XZ-1. Passionate about the company's latest compact represents a return at the end of the compact camera market. The impressive array of features built around an equiv. 28-112 mm F1.8 – 2.5 objective and includes a 3.0? VGA-equivalent OLED screen, high-sensitivity CCD sensor and dual control dials 10MP. XZ-1 enters a segment market competition, but its specifications suggest that can hold its own. Use in the real world supports this impression?

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Saturday, February 19, 2011

Nikon releases firmware update for D3100

Nikon has released a firmware update for the digital SLR that corrects D3100 a significant list of errors and bugs. Firmware v1.01 rectifies errors pertaining to autofocus, reproduction and noise reduction. This includes the reduction of a magenta cast in still images captured at high ISO settings when using live view or a movie for a long period of recovery. The firmware is available for immediate download from Nikon's website.

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Panasonic Debuts Lumix DMC-ZS 10 and DMC-ZS 8

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Panasonic has released the DMC-ZS10 and DMC-ZS8 compact superzooms. The latest image-stabilized cameras increase their zoom ranges to 16x, starting at a very useful 24mm equivalent. The ZS10 (TZ20 in Europe) incorporates a 14.1MP MOS sensor that can record Full 1080i AVCHD format movies, generate 3D images and full resoltion 10fps continous shooting and a built-in GPS. The simpler ZS8 (TZ18) comes with a 14.1 MP CCD sensor, shoots 720p HD movies in Motion JPEG, does not come with a 3D mode and leaves out the GPS.

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Panasonic LUMIX ZS10 Features a 24mm Ultra-Wide-Angle Leica Lens and a Powerful 16x Optical Zoom, 3D Photo Mode and Built-In GPS Functions

SECAUCUS, NJ (January 25, 2011) – Panasonic today introduced the LUMIX DMC-ZS10 as the newest member of its acclaimed LUMIX ZS-Series of digital cameras that has won worldwide popularity for its versatile lens from ultra wide-angle to long zoom.  The LUMIX ZS10 continues its versatility with a 24mm ultra-wide-angle and powerful 16x optical zoom LEICA DC VARIO-ELMAR lens – and it features full-High Definition 1920x1080 video recording capability, a newly-adopted large 3.0-inch, 460,000-dot Smart Touch Intelligent LCD – which allows for Touch Zoom, Touch Auto Focus (AF), Touch Shutter, and Touch Playback.  The LUMIX ZS10 also features a built-in GPS (Global Positioning System) function allowing geotagged images to be pinpointed via online maps and easily shared with friends and families.

“With the introduction of the LUMIX ZS10, Panasonic expects to continue to lead the market in long zoom digital cameras, as this very advanced digital camera not only offers a 16x optical zoom, but with an even wider 24mm Leica lens, this is a truly robust digital camera for both still photos and full HD 1080 videos,” said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “With new features such as touch-screen operation and even a 3D photo mode, Panasonic continues to pack the ZS10 with innovative features for capturing high-quality photos and videos, which can be easily shared with family and friends using the new LUMIX Image Uploader feature.”

The Panasonic LUMIX ZS10 also features the new Panasonic 3D Photo mode, which produces a realistic 3D photo by taking 20 consecutive photos and overlaying the two best images which provide a 3D image that can then be played on a Panasonic VIERA 3D HDTV. The format of the 3D image is compatible with MPO, and can also be played back on other MPO-compatible equipment such as a televisions, digital photo frame and printers.  Panasonic also adds the LUMIX Image Uploader for seamless and instant sharing via Facebook (for digital photos) or YouTube (for videos). Users can checkmark the photo or video files they want to share, connect it to a PC with the included USB cable or by inserting the SD Memory Card directly into the PC’s SD Card slot, and then the uploading automatically launches with an easy-to-follow menu option.

Using the touch-screen, once locked on the subject, the LUMIX ZS10 tracks the subject with the AF tracking function even if it moves. With the Intelligent Scene Selector in the iA mode, the LUMIX ZS10 automatically switches to the appropriate mode according to the subject touched. For example, a touch on a human face switches to the portrait mode and a touch on the background or a landscape changes to the Scenery mode, while a touch on the subject close in the foreground changes to Macro mode. All menu settings are now available with touch control. The touch-screen operation excels not only for shooting, but also in playback, allowing the user to drag the images across the screen with a finger and browse the collection of photos as though flipping the pages of a book.

Newly adopted 14.1-megapixel MOS sensor and the advanced image processor Venus Engine FHD feature high speed, high sensitivity image recording to realize 1920x1080 full-HD movie recording and high speed burst shooting in high picture quality. It also compiles the Intelligent Resolution technology to perform optimum signal processing to give the entire image outstandingly natural clearness with fine details. The powerful 16x optical zoom – available while shooting videos – increases its power to 21x equivalent with the Intelligent Zoom function, taking advantage of Intelligent Resolution technology. The Sonic Speed AF also boasts approximately 49% higher speed compared to its LUMIX ZS7 predecessor.

The LUMIX ZS10 shoots 10 fps in 14-megapixel full resolution with mechanical shutter and 5 fps with continuous AF. Even higher speed burst shooting is available with LUMIX ZS10 if the electronic shutter is used - 60 fps in 3.5-megapixel*1. The LUMIX ZS10 is an advanced photographic tool for recording not only great photos but also beautiful full-HD movies. In addition to Motion JPEG images, the LUMIX ZS10 can record high-resolution full-HD 1920x1080 60i videos in AVCHD (MPEG-4 / H.264) format. The high frame rate of 60i excels in recording moving subjects with outstanding smoothness. The videos also come with the high-quality stereo sound of Dolby? Digital Stereo Creator, to offer highly realistic sound.

Panasonic’s iA Mode, a suite of technologies that engage automatically, has evolved for more powerful image stabilization while video recording and taking still photos with Active Mode which boosts POWER OIS to excel in suppressing blur when recording videos at wide angle while walking. New iA features include the Intelligent Handheld Nightshot, which creates a beautiful night scenery with illumination by layering the images shot consecutively. Furthermore, the Intelligent Burst Shooting automatically sets the frame rate of burst shooting according to the subject’s movement – whether it moves fast or slow – utilizing the mechanism of Intelligent ISO Control.  Other features of iA include: Motion Deblur, POWER OIS, Face Recognition, Face Detection, AF Tracking, Intelligent ISO Control, Intelligent Scene Selector and Intelligent Exposure. With iA, taking beautiful photos is possible for users at any skill level. In addition, the Intelligent Resolution technology is always activated in the iA mode, which helps produce even clearer photos by precisely performing signal processing, pixel by pixel, to help ensure clear and sharp images.

The LUMIX ZS10 digital camera features a built-in GPS system which tags the location data where the photo was taken with its latitude and longitude automatically in the Exif data. Plus, the LUMIX ZS10 also shows the name of the Country/Region, State/Prov./County, County/Township, City/Town/Village and Landmark by using internal data to give users details on where the photos or videos were taken.  The area information covers 203 countries or regions for global users. Plus, more than 1,000,000 landmarks over 78 countries or regions are in the database. Using the included software PHOTOfunSTUDIO 6.1 HD Lite Edition, photos and videos can be searched by location and names. The LUMIX ZS10 also features an internal clock that automatically adjusts to the local time when GPS is enabled – a handy feature for travelers.

The LUMIX DMC-ZS8 was also added to the ZS-Series of cameras and maintains the versatile 24mm ultra-wide angle and powerful 16x optical zoom LEICA DC VARIO-ELMAR lens. Other features include:

iA mode including POWER OIS, Intelligent ISO Control, Intelligent Scene Selector, Face Recognition, Intelligent ExposureVenus Engine VI featuring Intelligent Resolution720p HD video recording in Motion JPEGLarge 3.0-inch large 230,000-dot Intelligent LCDManual exposureLUMIX Image Uploader

The LUMIX ZS10 and ZS8 will be available in March 2011 and pricing will be announced approximately 30 days prior to shipping date. The LUMIX ZS10 will be available in black, red, blue, silver, and brown; while the LUMIX ZS8 will be available in black and silver.

*1 In the high speed burst shooting at 60 fps, the picture size is 2.5-megapixel(4:3), 3-megapixel(3:2), 3.5-megapixel(16:9), 2-megapixel(1:1).

Sensor

• 1/2.33" Type MOS senso
• 15.1 million total pixels
• 14.1 million effective pixels
• Primary colour filter (RGB)

• 1/2.33" Type CCD
• 14.5 million total pixels
• 14.1 million effective pixels
• Primary colour filter (RGB)Image sizes

4:3 Aspect Ratio:
• 4320 x 3240 (14M)
• 3648 x 2736 (10M)
• 3072 x 2304 (7M)
• 2560 x 1920 (5M)
• 2048 x 1536 (3M )
• 640 x 480 (0.3M)

3:2 Aspect Ratio
• 4320 x 2880 (12.5M)
• 3648 x 2432 (9M)
• 3072 x 2048 (6M)
• 2560 x 1712 (4.5M)
• 2048 x 1360 (2.5M)
• 640 x 424 (0.3M)

16:9 Aspect Ratio:
• 4320 x 2432 (10.5M)
• 3648 x 2056 (7.5M)
• 3072 x 1728 (5.5M)
• 2560 x 1440 (3.5M)
• 1920 x 1080 (2M)
• 640 x 360 (0.2M)

1:1 Aspect Ratio:
• 3232 x 3232(10.5M)
• 2736 x 2736(7.5M)
• 2304 x 2304 (5.5)
• 1920 x 1920 (3.5M)
• 1536 x 1536 (2.5M)
• 480 x 480 (0.2M)

Movie clips

• Full HD: 1920 x 1080 pixels
60i (GFS: 17Mbps, FSH: 17Mbps / AVCHD) (Sensor output is 60p)
• HD Movie: 1280 x 720 pixels, 30fps
60p(GS: 17Mbps, SH: 17Mbps / AVCHD)
• HD Movie: 1280 x 720 pixels, 30fps Motion Jpeg
• VGA: 640 x 480 pixels, 30fps (Motion JPEG)
• QVGA: 320 x 240 pixels, 30 fps (Motion JPEG)

• HD Movie: 1280 x 720 pixels, 30fps Motion Jpeg
• VGA: 640 x 480 pixels, 30fps (Motion JPEG)
• QVGA: 320 x 240 pixels, 30 fps (Motion JPEG)File formats• JPEG( Exif 2.3)
• 3D Image: MPO
• AVCHD, QuickTime Motion JPEG • JPEG( Exif 2.3)
• QuickTime Motion JPEG Lens• 16x Optical zoom
• 24 - 384mm (35mm equiv.)
• f = 4.3-68.8mm
• F3.3- 5.9
• LEICA DC VARIO-ELMAR
• 12 elements in 10 groups (3 Aspherical surfaces)Image stabilizationPower O.I.S. Lens-shift stabilizationFocus

• Normal
• Macro
• Zoom Macro
• Quick AF
• AF Tracking
• Touch AF/AE
• Continuous AF (only for motion picture)

• Normal
• Macro
• Zoom Macro
• Quick AF
• AF Tracking
• Continuous AF (only for motion picture)Focus distance• Normal: Wide 50 cm - infinity / Tele 200 cm - infinity
• Macro / Intelligent AUTO/ movie recording: Wide 3 cm - infinity / Tele 100cm - infinityMetering

• Intelligent Multiple
• Center Weighted
• Spot

ISO sensitivity• Auto
• i.ISO
• 100
• 200
• 400
• 800
• 1600
• High Sensitivity Mode : Auto (1600 - 6400)Shutter speed• Still: 60 - 1/4000 sec
• Starry Sky Mode : 15, 30, 60secAperture• F3.3 - 6.3 (W) / F5.9 - 6.3 (T)
• Multistage Iris Diagram Modes• Intelligent AUTO
• Program
• Aperture Priority
• Shutter Priority
• Manual
• Custom
• 3D Photo
• SCN
• My SCN 2
• My SCN 1• Intelligent AUTO
• Program
• Aperture Priority
• Shutter Priority
• Manual
• Custom
• SCN
• My SCN 2
• My SCN 1
• MovieScene modes Portrait, Soft Skin, Transform, Self-Portrait, Scenery, Panorama Assist, Sports, Night Portrait, Night Scenery, Handheld Night Shot, Food, Party, Candle Light, Baby1, Baby2, Pet, Sunset, High sensitivity, Flash Burst, Starry Sky, Fireworks, Beach, Snow, Aerial, Pinhole, Film Grain, High Dynamic (standard/ art/ B&W), Photoframe, Under Water, High Speed Movie

Portrait, Soft Skin, Transform, Self-Portrait, Scenery, Panorama Assist, Sports, Night Portrait, Night Scenery, Food, Party, Candle Light, Baby1, Baby2, Pet, Sunset, High sensitivity, Hi-Speed Burst (image priority/speed priority), Flash Burst, Starry Sky, Fireworks, Beach, Snow, Aerial, Pinhole, Film Grain, High Dynamic (standard/ art/ B&W), Photoframe, Under WaterColor Mode• Standard
• Natural
• Vivid
• Black & White
• Sepia
• Cool
• Warm
• HappyWhite balance• Auto
• Daylight
• Cloudy
• Shade
• Incandescent
• White SetFlash

• Auto, Auto/Red-eye Reduction, Forced On, Slow Sync./Red-eye Reduction, Forced Off
• 0.6 - 5.0m (Wide/ISO Auto), 1.0 - 2.8m (Tele/ISO Auto)

LCD monitor• 3.0" TFT Touch Screen LCD Display, AR coat
• 460K pixels
• AUTO Power LCD mode, Power LCD mode• 3.0" TFT LCD Display
• 230K pixels
• AUTO Power LCD mode, Power LCD mode, High Angle modeConnectivity• USB 2.0 Full speed
• AV Output (NTSC/PAL)
• Mini HDMI• USB 2.0 Full speed
• AV Output (NTSC/PAL)Storage• Approximately 18MB built-in memory
• SD/SDHC/SDXC Memory Card• Approximately 70MB built-in memory
• SD/SDHC/SDXC Memory CardPower• ID-Security Li-ion Battery Pack
• Charger includedDimensions105 x 58 x 33 mm
(4.13 x 2.27 x 1.31 in)


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Panasonic launches Lumix DMC-FX 78 compact camera

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Panasonic has released the Lumix DMC-FX78 ultra-compact with an F2.5-5.9 5x zoom lens starting at 24mm. The 12.1MP camera features a large 3.5" touch screen LCD with Touch zoom, AF tracking, shutter and playback capabilities. It also offers full 1080 HD recording in AVCHD format and a 3D Mode that produces a 3D photo in .MPO format by taking 20 consecutive photos and overlaying the two best into a 3D image. This can be played back on MPO-compatible equipment such as a televisions, digital photo frames and printers. 

Jump to:

Press Release:


The LUMIX FX78 Features a F2.5 Super-Bright 24mm Ultra-Wide-Angle Leica Lens for Superb Photo and Video Quality and a Large 3.5-inch Smart Touch LCD for Intuitive Operation

SECAUCUS, NJ (January 25, 2011) – Panasonic today expands its LUMIX FX-Series of stylish and compact digital cameras, with the LUMIX FX78, which features a new Smart Touch operation on the large 3.5-inch 16:9 aspect LCD, allowing for intuitive touch operation, including Touch AF, Touch Zoom, Touch Shutter, and Touch Playback. The LUMIX FX78 also incorporates a new LEICA DC VARIO-SUMMARIT, 24mm ultra-wide angle lens that has a 5x optical zoom with F2.5 aperture.  The 24mm wide-angle lens offers approximately 213% larger viewing space when compared to a traditional 35mm camera.  This high-performing lens has been designed to fit the slim body while still offering exceptional photo and video quality. With its wide and bright lens, the LUMIX FX78 excels when shooting dynamic landscapes and in low-lit situations.

The LUMIX FX78’s Smart Touch Screen allows for the Auto Focus (AF) to be set by simply touching the subject on the LCD and a touch can even release the shutter. Once locked on the subject, the LUMIX FX78 tracks the subject with the AF tracking function even if it moves. With the Intelligent Scene Selector in the iA mode, the FX78 automatically switches to the appropriate mode according to the subject touched. For example, a touch on a human face switches to the portrait mode, and a touch on the background or a landscape changes to the Scenery mode, while a touch on the subject close in the foreground changes to Macro mode. All menu settings are now available with touch control. The touch-screen operation excels not only for shooting, but also in playback, allowing the user to drag the images across the screen with a finger and browse the collection of photos as though flipping the pages of the book.

“With its super-bright and wide-angle lens, the LUMIX FX78 is a high-performing digital camera that excels in image quality, producing exceptional full-HD videos and still photos,” said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “With the new touch-screen operation, the FX78 is intuitive to use and allows the user to take a photo, track a subject and even touch-up a face with just the touch of the finger.”

The LUMIX FX78 also features the Panasonic 3D Photo mode, which produces a realistic 3D photo by taking 20 consecutive photos and overlaying the two best to create a 3D image that can then be played on a Panasonic VIERA 3D HDTV. The format of 3D images is compatible with MPO, and can also be played back on other MPO-compatible equipment such as a televisions, digital photo frames and printers.  Panasonic also adds the LUMIX Image Uploader, for seamless and instant sharing via Facebook (for digital photos) or YouTube (for videos). Users can checkmark the photo or video files they want to share, connect the camera to a PC with the included USB cable or by inserting the SD Memory Card directly into the PC’s SD Card slot, and then the uploading automatically launches with an easy-to-follow menu option.

Incorporating a newly developed 12.1-megapixel Hi-Speed CCD sensor, the DMC-LUMIX FX78 is compatible with high-speed, large-capacity signal processing required for 1920 x 1080 full-HD video recording in AVCHD and high speed continuous shooting. The AVCHD format almost doubles the recording time in HD quality, when compared with the conventional Motion JPEG. The LUMIX FX78 also boasts Dolby Dolby? Digital Creator to record high quality audio.

The advanced image processing LSI, the Venus Engine FHD, assures high picture quality in both photo and movie recording. It also incorporates the Intelligent Resolution technology to perform the optimum signal processing to give the entire image outstandingly natural clearness with fine details. The LUMIX FX78’s 5x optical zoom is available when shooting video.  Thanks to the Intelligent Resolution technology, the Intelligent Zoom is available with the LUMIX FX78 which extends the zoom ratio by approximately 1.3x maintaining the picture quality and extending it to a 6.5x zoom equivalent. The Sonic Speed AF, which gains approximately 33% higher speed compared with its predecessor DMC-FX75, has a quick shutter release time lag as short as approximately 0.005 second.

The LUMIX FX78 is not only a high-performing digital camera when it concerns image quality, but it also includes a host of entertaining features that brings photography to a new level of fun with features such as Art Retouch and Beauty Retouch. The Art Retouch function lets the user change the original photo in brightness and color saturation. The Beauty Retouch mode allows users to digitally touch-up faces by applying different effects, such as skin texture, lifting up the face and whitening of teeth. In addition, the Make-up mode gives the user the option to change the face’s complexion, lips, cheeks or eye-shadow coloring.

Panasonic’s iA Mode, a suite of technologies that engage automatically, has evolved for more powerful image stabilization while video recording and taking still photos with Active Mode which boosts MEGA OIS to excel in suppressing blur when recording videos at wide angle while walking. Other features of iA include: Motion Deblur, MEGA OIS, Face Recognition, Face Detection, AF Tracking, Intelligent ISO Control, Intelligent Scene Selector and Intelligent Exposure. With iA, taking beautiful photos is possible for users at any level. In addition, the Intelligent Resolution technology is always activated in the iA mode, which helps produce even clearer photos by precisely performing signal processing pixel by pixel to help ensure clear and sharp images.    

The LUMIX FX78 will be available in March 2011 in black, gold and white models and pricing will be announced approximately 30 days prior to shipping date.

Sensor

• 1/2.33" Type CCD
• 12.5 million total pixels
• 12.1 million effective pixels
• Primary colour filter (RGB)

Image sizes

4:3 Aspect Ratio:
• 4000 x 3000(12M)
• 3264 x 2448 (8M)
• 2560 x 1920(5M)
• 2048 x 1536 (3M)
• 1600 x 1200 (2M)
• 640 x 480 (0.3M)

3:2 Aspect Ratio
• 4000 x 2672 (10.5M)
• 3264 x 2176 (7M)
• 2560 x 1712 (4.5M)
• 2048 x 1360 (2.5M)
• 640 x 424 (0.3M)

16:9 Aspect Ratio:
• 4000 x 2248 (9M)
• 3264 x 1840 (6M)
• 2560 x 1440 (3.5M)
• 1920 x 1080 (2M)
• 640 x 360 (0.2M)

1:1 Aspect Ratio:
• 2992 x 2992 (9M)
• 2448 x 2448 (6M)
• 1920 x 1920 (3.5M)
• 1536 x 1536 (2.5M)
• 480 x 480 (0.2M)

Movie clips

• Full HD: 1920 x 1080 pixels, 60i (Sensor output is 30p)
(FSH:17Mbps / AVCHD)
• HD Movie: 1280 x 720 pixels, 60p (Sensor output is 30p)
( SH:17Mbps/ AVCHD )
• HD Movie: 1280 x 720 pixels, 30fps Motion Jpeg
• VGA: 640 x 480 pixels, 30fps (Motion JPEG)
• QVGA: 320 x 240 pixels, 30 fps (Motion JPEG)

File formats• JPEG( Exif 2.3)
• 3D Image: MPO
• AVCHD, QuickTime Motion JPEG Lens• 5x Optical zoom
• 24-120mm (35mm equiv.)
• f = 4.9-22.8mm
• F2.5 - 5.9
• LEICA DC VARIO-ELMAR
• 10 elements in 8 groups (3 Aspherical surfaces)Image stabilizationPower O.I.S. Lens-shift stabilizationFocus

• Normal
• Macro
• Zoom Macro
• Quick AF
• AF Tracking
• Touch AF/AE
• Continuous AF (only for motion picture)

Focus distance• Normal: Wide 50 cm - infinity / Tele 100 cm - infinity
• Macro / Intelligent AUTO/ movie recording: Wide 3 cm - infinity / Tele 100cm - infinityISO sensitivity• Auto
• i.ISO
• 100
• 200
• 400
• 800
• 1600
• High Sensitivity Mode : Auto (1600 - 6400)Shutter speed• Still :8 - 1/4000 sec
• Starry Sky Mode : 15, 30, 60secAperture• F2.5 - 5.9 (F2.5 - 8 (W) / F5.9 - 18 (T))
• Iris DiaphragmModes• Intelligent AUTO
• Normal Picture
• 3D Photo
• SCN
• Cosmetic
• My ColorScene modes Portrait, Transform, Self-Portrait, Scenery, Panorama Assist, Sports, Night Portrait, Night Scenery, Handheld Night Shot, Food, Party, Candle Light, Baby1, Baby2, Pet, Sunset, High sensitivity, Hi-Speed Burst(Image priority / Speed priority), Flash Burst, Starry Sky, Fireworks, Beach, Snow, Aerial, Photoframe

Color Mode• Standard
• Natural
• Vivid
• Black & White
• Sepia
• Cool
• Warm
• HappyWhite balance• Auto
• Daylight
• Cloudy
• Shade
• Incandescent
• White SetFlash

• Auto, Auto/Red-eye Reduction, Forced On, Slow Sync./Red-eye Reduction, Forced Off
• 0.6 - 5.9m (Wide/ISO Auto), 1.0 - 2.5m (Tele/ISO Auto)

LCD monitor• 3.5" full touch screen TFT LCD Display, AR coat
• 230K pixels
• Power LCD mode, AUTO Power LCD mode, High Angle modeConnectivity• USB 2.0 Full speed
• AV Output (NTSC/PAL)
• Micro HDMIStorage• Approximately 70MB built-in memory
• SD/SDHC/SDXC Memory CardPower• ID-Security Li-ion Battery Pack
• Charger includedDimensions100 x 55 x 21 mm
(3.93 x 2.17 x 0.81 in)


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Pentax releases service notice for DSLR K-5

Pentax offers a free service for users of DSLRs K-5 who were affected by this issue widely reported ' tinto image sensor '. The company believes that the problem occurred during the manufacturing process of the game before K-5 and cannot be solved by methods of sensor cleaning. Camera owners interested may contact the customer service centre of the company to send their cameras for repair.

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Phase one Announces IQ series digital backs

Phase one has released IQ180, IQ160 and IQ140 medium format digital camera backs with 80, 40 and 60.5 megapixel CCD sensors, respectively. All three feature 3.2 supports "multi-touch rear the company describes as having 1.15 megapixel resolution (although it seems more similar to what would normally be called 1.15 million points). The IQ180 also has a USB 3.0 faster image transfer and a FireWire 800 connection for faster tethered shooting. All three will be available from April 2011 at suggested retail price starting at $ 16,990 € 21,990/.

Press release:


Designed for maximum creative freedom

Copenhagen, January 24, 2011 — Phase One, a supplier of equipment pro photography world leader, today announced a bold new generation of medium format digital camera backs. Phase one IQ180, IQ160 and IQ140 digital camera supports the feature maximum resolutions of 80, 60 and 40 high quality Megapixels respectively. This series sets new standards for performance and management of medium format camera system.

Phase one IQ180 captures full-frame 80 megapixels resolution, with a dynamic range of 12.5 f-stop. Is the first product of its kind to feature a connection AFG3252, facilitating the transfer of images faster in the future. The IQ180 also offers a FireWire 800 connection, ensuring the speed of the fastest possible acquisition related today. For shooting untethered, new interface memory card digital back IQ180 is so fast that eliminates buffering delays, support continuous shooting until the card is filled.

"I'm amazed by the quality of the image, I got it out of the box ' with the IQ180 of a phase phase one 645DF camera. You can create images with more detail and see unique compared with any other camera out there. Helps me to develop unique styles to me, "said Jens Honore photographer lifestyle. (Web: http://www.jenshonore.com/)

Type a retina designed just 3.2 inch multi touch Features, 1.15 megapixel resolution, providing the highest resolution and largest exhibition of any SLR type cameras available today. This means that very fine details can be checked immediately during a photo shoot--for example, using unique Focus form of phase one and instant zoom feature. Automatic adjustment of brightness and contrast ensures that the display is visible in various lighting conditions.

Context sensitive controls, such as instant zoom enables a photographer to magnify an image by using only one finger. Small histograms and highlight warnings can be enlarged to full screen view with a simple touch. The new form of fire available during preview allows you to validate the depth of field and focus the image. View the wide format allows for a full image 4: 3 aspect ratio at VGA resolution next to the histogram, highlight warning, form of fire, EXIF data and touch controls.  This touch screen display is complemented by intuitive navigation of 4 buttons of phase one.

"The new high resolution multi touch screen with its intuitive controls is a perfect tool for quality control of image right at the time of acquisition. With this display quality, can I leave my laptop at home and, ultimately, this makes it easier, my job, "said architectural photographer, Eugeni Pons. (Web: http://www.eugeni-pons.com/)

Phase one sensor + technology patent, incorporated in phase one IQ180, supports a wide variety of shooting conditions. One can capture images with megapixel resolution, a full 80 or using sensor + mode, switch instantly to capture images with a resolution of 8 megapixels to four times higher sensitivity up to ISO 3200. This flexibility is very useful in low light conditions; There is no need to slow down to change the cameras, and there is no clipping or lens. One gets the maximum wide-angle lens performance, higher levels of ISO and a faster workflow.

According to the fashion photographer Stefan Kapfer from Trostberg, "the new IQ180 meets my work very well. Can I use the full 80 megapixel resolution for my shots of high-end fashion, and 8 megapixel image sensor technology that get by + give me a workflow faster when production catalogue. It's really two perfect solutions in a single system. " (Web: http://www.stefankapfer.de/)

Compatibility is improved IQ among digital backs and camera body phase one 645DF. Now, the power state of the digital back can be controlled directly from the 645DF camera. An integrated battery charger ensures that the battery is charged while one is shooting tethered, offering more shooting versatility.

Capture one 6
Capture one 6 Backup has been optimized for shooting with a digital phase IQ. Together with the IQ series backs this professional RAW converter and image editing software will deliver the highest image quality in the world with excellent color and detail.  The software includes all the tools you need to capture, organize, edit, share and print images for an efficient workflow.

Reliability and service
Professional photographers have the IQ of a phase digital backs to get their jobs. Their highly durable build quality has been designed and tested to work in the toughest environments, including humidity, extreme heat and cold.

All Phase One products are worth long-term investment with superior service. For professionals, this protection is invaluable, especially when shooting in familiar situations and locations worldwide.

Various service levels are available for phase one digital backs IQ. For example, an option of added value includes a lifetime warranty-time (5 years), a unit on loan free of charge during the repair and other options. Phase one provides support 24 hours 365 days delivered online and supported by dedicated partners and a global support team.

For a complete list of all the new phase one digital Back features IQ, including camera bodies are supported, see www.phaseone.com/iq

The availability and prices
Phase one IQ180 should be available end of April 2011. Phase one IQ160 and IQ140 are expected to be available end of May 2011. The products can be ordered now through a phase of photography professional partners worldwide: www.phaseone.com/partners

Prices for digital backs new start 21990 6,532 EUR/USD. Interesting upgrade offers are available for all photographers to step one.


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Friday, February 18, 2011

Phase one releases Capture One 6.1

Phase one has updated the workflow software, Capture One PRO 6 and Express 6 Raw. Version 6.1 offers additional functionality and extends RAW support for cameras, including Canon PowerShot G12, Pentax K-5, Nikon D3100 and latest Panasonic Micro Four Thirds cameras. The update is available for immediate download from the website of the company.

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FUJIFILM FinePix X 100 first look preview

just published: Fujifilm X 100 first look. In amongst a flurry of announcements important camera at Photokina 2010, a single model stole the show-the Fujifilm big sensor, retro-looking, fixed lens compacts: the 100 X. With sensor CMOS APS-C and 23 mm F2 lens fast giving a classic 35 mm equivalent short moderate style rangefinder camera has more traditional control knobs a viewfinder innovative "hybrid" that combines a large and bright finder optics with a high-resolution electronic display. We have been itching get our hands on 100 X ever since it was announced, and Fujifilm kindly lent us a prototype model for a first look. Click to read more.

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Saturday, February 5, 2011

Sony SLT-55 Review


Revision based on a production Sony SLT Alpha A55V with firmware version 1.0Latest Sony interchangeable lens system cameras, the SLT Alpha A33 and A55 represent a technological milestone-not only for Sony but for the entire camera enthusiast market.The company rejected the traditional DSLR design and instead created a hybrid that, as a compact camera, is built from the ground up around live view, but what is also able to offer full-time DSLR-style phase-detection autofocus. The combination means can offer features such as phase detection AF during movie recording and amazingly fast continuous shooting rates (10 frames per second at A55), unthinkable at this price.This is made possible by adopting an approach that has more in common with a mirrorless camera (such as the Panasonic G2, for example) a reflex by removing bits which practically define these cameras: the optical viewfinder and moving mirror.The name ' slt ' stands for single lens is translucent and the bit ' translucent ' that is the key to what differentiates these new models from both conventional DSLRs and interchangeable lens mirrorless cameras. The SLTs are mirrors, but are mirrors that allow most of the light passed straight to the sensor, rather than having to swing out of the way to allow for exposure. Consequently they are fixed in position, always reflecting a part of the light emerging from the back of the lens on an array of phase-detection AF housed at the top of the camera. (A newly-developed 15-an array of points in the case of these two cameras).The APS HD CMOS sensor A33 features the same 14 million as the NEX-3 and NEX-5, but the sensor A55 is brand new, with 16.2 million effective pixels-maximum resolution APS-C format sensor Sony yet. In another first for big models of Sony interchangeable lens body, both cameras can shoot well, movie files to 1080p HD resolution. Technically this review was conducted with a A55V SLT: Variant enabled GPS camera that will be sold in most markets – only a handful of countries (including Japan), will be a non-GPS A55 sold.
4 .2MP APS HD CMOS sensorFixed (effective), type of film semi-transparent mirrorMaximum ISO 12800 (with almost-25,600 ' Multi-frame NR ') 15-point phase-detection AF array with 3 Cross-type AF pointsElectronic crosshair resolutionBuilt dot with 1.15 million-level in the EVF/LCD GPSElectronic with pitch/roll indicatorDual-order Memory Stick/SD card slot10fps continuous shooting mode with continuous rate1080p AVCHD movie AFArticulated 3 '' LCD with TruBlack ' 912 k dotssocket for external microphone2x magnification modes in live viewFace-detection AF (focus through the nearest phase-detection AF)

If you're new to digital photography, you can read some of our digital photography Glossary before diving into this article (it may help to understand some of the terms used).

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DPReview use calibrated monitors at PC normal gamma 2.2, this means that on our monitors we can make the difference between all grayscale blocks below. We recommend that you make the most of this review you should be able to see the difference (at least) between X, Y and z and ideally also A, B and c.


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Panasonic Lumix DMC-GH 2 Preview

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Preview based on a pre-production GH2

When Panasonic first launched the GH1, its second Micro Four Thirds camera, it was widely seen as simply being a G1 with video shooting and a considerably more expensive kit lens. And, if your primary concern was stills photography then this wasn't an entirely unreasonable assessment. However, its real appeal was not that it had video, but that it offered what was, at the time, some of the most flexible, high quality video available. Again, the 14-140mm F4.0-5.8 kit zoom may not have been cheap but it had been specifically designed and built with fast, quiet autofocus and stepless aperture control to allow AF during movie shooting and exposure changes without sudden changes in brightness.

Now that the G2 (along with the majority of contemporary cameras) is able to capture HD video, the distinctions between just being able to shoot HD and to really control it become more apparent. Stills shooters may get some advantage from the new, higher resolution sensor but the main differences between the GH2 and G2 are the ability to control the movie shooting process (both in terms of frame rate and shutter speed).

In the twenty five months since Olympus and Panasonic jointly announced the Micro Four Thirds standard there have been eight models launched to date, seven of which share the same 12MP sensor. The only exception was the GH1 which, despite its 12MP output actually featured a 14MP sensor. The sensor was slightly larger than the format's imaging circle, which allowed it to deliver images in different aspect ratios while retaining the same image diagonal. And now the GH2 follows the same pattern, shooting 16MP images using its brand-new, similarly over-sized 18MP sensor.

This sensor is capable of much greater output speed than its predecessor, bringing a host of benefits. Videographers will see an improvement in the quality of the highest quality output - the 1080i output is derived from 60p or 50p capture, rather than doubled-up from 24p or 25p on the GH1. However, the faster readout also means the AF system can more frequently check the accuracy of its focus, meaning faster autofocus (on lenses that can respond quickly enough). Finally, the faster readout means the live view is updated 60 times a second (rather than 24fps displayed at 60hz), giving a smoother viewing experience with less tearing.

The viewfinder has also been slightly widened - it now shows 852 x 600 pixels (rather than 800 across) to allow it to show 16:9 and 3:2 previews without the need for such extensive cropping as before.

The G2 alongside one of its current nearest competitors - the Canon EOS 60D. The considerably smaller size and bulk of the GH2 is obvious in this view - one of the advantages of a mirrorless design. The GH2 might look very similar to a casual glance but there are some major differences between the two models. Let's have a look at the main changes:

New sensor - multi-aspect Live MOS with 18.3 million total pixelsISO range 160 - 12800 (vs 100-3200)Sensor capable of 1080p at 60 or 50 fps (rather than 24 or 25 fps), still output as 60i/50iFaster sensor read-out promises faster AF and smoother viewfinder image (less tearing)Larger EVF coverage to match multi-aspect shooting (852 x 600 rather than 800 x 600 pixels)Touch-sensitive LCD screen (same as G2)New, more modern looking menu screensG2-style combined AF mode/pattern control on top plateDirect movie shooting button moved to top plate from rear of cameraControl dial moved from front of handgrip to rear of cameraDedicated metering and 'film mode' buttons replaced by highly customizable Fn buttonsQ menu button moved from top plate to rear of cameraNew battery (DMW-BLC12E) with fractionally smaller capacity (1200mAh vs 1250mAh)Slightly heavier (394g compared to 385g body only)Like the GH1, the GH2 is distinguished from its G-series contemporaries by its video shooting capabilities. The GH2 is a far more serious video shooting tool than the G2, and indeed the majority of its competitors - both mirrorless and DSLR. The GH2 offers a similar video specification to the GH1 but with one important difference - the sensor no longer doubles-up its sensor output in order to create its highest-speed video (the GH1 sensor could capture at 24 or 25 fps, which was then put out as 60i or 50i footage). Instead, the latest sensor can capture progressive (whole frames) at 60 or 50 fps. Its output is still limited to 60i or 50i because there are no common ways to distribute 60p or 50p footage, but this should certainly improve the output quality. The GH2 also has the ability to save footage at a different frame rate from the one captured - allowing slow-motion or high-speed effects.

From a still photography point of view the GH2 brings very little that is 'new' to the G-series apart from its increased resolution - up to 16 from 12.1MP. This makes the GH2 the highest resolution camera in Panasonic's Micro Four Thirds range, and a maximum ISO of 12,800 makes it (at least on paper) the most versatile too. Like the G2, the GH2's LCD screen is touch-sensitive, but also like the G2, it is not 'mandatory'. In other words, GH1 users upgrading to the GH2 with no interest in experimenting with the touch technology can more or less ignore it if they wish.

From the front, the main difference between the GH2 and G2 is that the former is slightly taller, and more of a 'classic' SLR shape. The G2 is a noticeably squatter when viewed in direct comparison, but the family resemblance is unmistakable.
From the top, the GH2 is very similar to the G2. The most obvious difference is the stereo microphone which dominates the top of the flash housing of the GH2 (the G2 makes do with a single, tiny mic aperture just forward of the AF mode switch). Both cameras have a button for direct movie shooting, but whereas the G2 has a dedicated iA mode button, in its place the GH2 has a customizable 'Fn' button.Sensor• 4/3 type MOS ('Live MOS sensor')
• 18.3 million total pixels
• 16.0 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 14.0 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 13.1 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter arrayMovie mode• AVCHD :
1920 x 1080p 24fps (Approx 23 or 17 Mbps)
1920 x 1080i 60fps (Approx 17 or 13 Mbps)
1280 x 720p 60fps (Approx 17 or 13 Mbps)
• Motion JPEG:
1280 x 720, 30fps
848 x 480, 30fps
640 x 480, 30fps
320 x 240, 30fps • AVCHD :
1920 x 1080, 24fps (24 fps encapsulated in a 60i format)
1280 x 720 (60 fps)

• Motion JPEG:
1280 x 720, 30fps
848 x 480, 30fps
640 x 480, 30fps
320 x 240, 30fps

• AVCHD Lite:
1280 x 720, 60p (from 30fps sensor output)
1280 x 720, 50p (from 25 fps sensor output)

• Motion JPEG:
1280 x 720 (30fps)
848 x 480 (30fps)
640 x 480 (30fps)
320 x 240 (30fps)

LCD monitor • Touch sensitive 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverage
• 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverage• Touch sensitive 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverageMicrophone• Built-in stereo
• Socket for external mic• Built-in stereo
• Socket for external mic• Built-in monoaural
• Socket for external micDimensions142 x 90 x 76 mm
(4.9 x 3.5 x 3 in) 142 x 90 x 76 mm
(4.9 x 3.5 x 3 in) 124 x 84 x 74 mm (4.88 x 3.29 x 2.91 in )Weight (body only, no card/battery)


If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window.

To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top.

DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C.

This article is Copyright 2010 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.


View the original article here

Olympus PEN E-PL 2 Preview

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Preview based on a production E-PL2, firmware 1.0

The Micro Four Thirds system turned two years old last October, and a lot has happened since Panasonic debuted the DSLR-inspired, but mirrorless Lumix DMC-G1. What was then a brand new system has had time to mature, and mirrorless interchangeable lens cameras (ILCs) now make up one of the fastest-growing and competitive segments of the consumer digital camera market.

Although the Micro Four Thirds system got in first, Panasonic and Olympus haven't had everything their own way. After a decent head start, Panasonic's G-system and the Olympus PEN-series have been joined by Samsung's small-but-growing NX range, and Sony's innovative NEX-3 and NEX-5. All this competition has resulted in a rash of new releases from both 'original' mirrorless ILC manufacturers in recent months, as Panasonic and Olympus attempt to consolidate their early lead and grab as much market share as possible.

Part of that strategy is to aim lower, at novice rather than solely enthusiast consumers. The Olympus E-PL1, released in February 2009, was designed to appeal to precisely this market, filling the gap between high-end compact cameras and enthusiast-oriented, mostly DSLR-inspired, ILCs. The E-PL1 dispensed with the control dials of the E-P1 and E-P2, but retained the same sensor (albeit with a lighter AA filter), in a smaller, considerably more compact-like body. It also boasted - gasp! - a built-in flash; something which Olympus opted to dispense with in both the E-P1 and E-P2.

The E-PL2 has the same sensor as the E-PL1 and doesn't officially replace it, but sits above it in the product line, beneath the E-P2. As well as a physical makeover (the E-PL2 reminds us slightly of the rather beautiful Stylus Verve) its ergonomics have been refreshed too. The all-button operation of the E-PL1 has been ditched, in favor of a more conventional combination button/dial approach, with a rear plate that's much closer in design to the E-P2 than the E-PL1. The LCD screen is better too - its size has increased to 3 inches and it doubles in resolution, topping out at 460K dots. Indeed with its 3:2 aspect ratio and deep blue anti-reflective coating, it bears a startling resemblance to the unit used on Panasonic's DMC-GF2, although without that model's touch-sensitivity.

There are a couple of specification and firmware tweaks, too. The available ISO range now covers 200-6400, with the low-noise but limited-dynamic range ISO 100 option dropped. There's also an intriguing extension of the familiar face-detection AF mode, in the shape of 'iDetect' that aims to focus specifically on your subject's eyes. Some of the Art Filters gain a number of variations, plus the ability to add a stylized border.

The E-PL2 also comes with a new kit lens, that made its debut alongside the Japan-only E-PL1s late last year. The collapsible M.Zuiko Digital ED 14-42mm f/3.5-5.6 II MSC is 25% lighter than the previous generation, but boasts three aspherical elements rather than two. Its mechanism has also been modified, with one extending barrel section rather than two, making for a more solid construction than its notoriously-wobbly predecessor. It also gains a bayonet fitting at the front which can accept not only a lens hood, but also a new series of add-on lens converters - fish-eye, wideangle and macro.

Perhaps most significantly, though, the lens now gains the 'Movie and Still Compatible' (MSC) designation, signifying a much faster and quieter internal-focus design. According to Olympus, this makes the AF speed of the E-PL2 and 14-42mm II combination on a par with the best cameras in its class. However it does come at a slight cost to the lens's macro capability, with a maximum magnification of 0.19x rather than 0.24x.

A full test of the E-PL2's AF capabilities will follow in our forthcoming review, but Olympus's claim that the E-PL2 with the new kit lens offers faster AF than the previous generation E-PL1 with the original 14-42mm is born out in our initial testing. Although from our measurements the speed difference is not enormous, we have found that on the E-PL2, the new 14-42mm II can reliably achieve focus in slightly less time than the older lens. The speed increase is small - typically in the region of 0.1s - but enough to make it feel more positive. This is especially true when refocussing across a small distance range, at which point the E-PL2 with 14-42mm II feels pretty close to instantaneous.

It is worth noting that E-PL1 users will see a significant leap in AF performance from the new 14-42mm II. With the new lens mounted, we found that AF aquisition is typically around 0.2secs faster than when using the original kit zoom. This amounts to an increase in AF speed of almost 30% in some circumstances - a substantial boost. Back to the E-PL2 though, and the impression of better AF speed is aided by the silent focussing of the 14-42mm II. Not only does this make the lens feel swifter in use, but crucially it also means that movie footage from the E-PL2 is not marred by the sound of the lens' AF motor racking back and forth.

As you can see, the revised 14-42mm MSC lens grows significantly when extended for use, but its overall dimensions are virtually identical at its widest and longest focal lengths (it gets shorter in between). When retracted for carrying it's about 2" / 50mm long, making it a bit larger than its predecessor.12 megapixel Four Thirds sized sensorIn-body image stabilization'Live Guide II' interface works in still and movie capture modes3" LCD screen (460,000 dots)Built-in flashEye-detection AFDirect record movie button720p 30fps HD video (AVI Motion JPEG format)ISO 200-6400Accessory port for add-ons such as electronic viewfinder and new 'PENpal' bluetooth transmitter

Although the E-PL2 is a less expensive camera than the E-P2 that sits above it, it gives very little ground to its big brother in terms of specification, and is better specified than the E-PL1. The biggest differences between the E-PL2 and E-P2 are in fact cosmetic and ergonomic: the E-PL2's more compact-camera-like interface, the simplified construction and of course the slightly more compact, more 'styled' body shell.

One control dial (vs. 2 on the E-P2)Built-in flash (external flashes only on E-P2)Compatible with Penpal PP-1 bluetooth accessory (the E-P2 is incompatible).Direct record movie button vs. movies as position on E-P2 mode dialMono mic with option to add stereo using adapter vs. built-in stereo micsNo orientation sensor on E-PL2The E-PL2's design is consistent with the 'classic' looks of the original E-P1 and the newer E-P2 (seen here), but the sloping top plate and remodeled hand grip make it (in our opinion) a better looking camera. The back of the E-PL2 is very similar to the E-P2 - gone is the dial-less interface of the E-PL1, but the E-PL2 lacks the uppermost dial of the E-P2, making do with just one, around the four-way controller to the right of the LCD screen. The E-PL2's anti-reflective screen covering is larger than the E-P2 but the 'active' screen area itself is the same size.

The omission of the uppermost control dial and the addition of a direct video recording button, plus (of course) the flash release catch are the only differences between the two cameras in terms of physical control points, but although we're looking at the same number of buttons in more or less the same place, their functions have been shuffled around a bit. Perhaps most significantly, the E-PL2 sports a magnification button (for both image review and manual focus) in place of the E-P2's dedicated AEL/AFL button.


If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window.

To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top.

DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C.

This article is Copyright 2010 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.


View the original article here

Canon PowerShot G12 Review


Revision based on a production EOS-G12This is the last in our series of ' Quick ' Reviews. We use this format for the cameras that are functionally similar and identical in terms of output in templates that we have already reviewed. We test to confirm the quality of the image is identical (noise testing and shots of our ' than ' scene study at all), then focus the review about the differences between the two cameras. Learn all about the camera you are interested in we recommend reading not only the rapid, but also the full review of the Canon Powershot G11.Canon Powershot G series has a bold market high-end compact camera. Originally designed to provide users of film SLR ladder (relatively) affordable in passionate about digital imaging, in the last ten years have evolved to become what they are now-suction compact cameras and high-quality, attractive bodies according to existing DSLR users, fitting in ' mainstream ' niche between offers compact and small DSLRS cameras G series.

As can be seen in our recent group test high-end compact camera, the competition in this market segment is fierce. But not only the Canon Powershot G12 have faced this crop's latest compact cameras, also deals with fierce competition from a completely new category-mirrorless interchangeable lens cameras. In recent months, Panasonic, Olympus, Sony and Samsung have started attacking the high-end compact aggressively market with high quality, but very small cameras with larger sensors (APS-C or four thirds). A camera like the Olympus pen and recently inaugurated-PL 2 with its collapsible zoom kit 14-42 mm isn't much bigger (and more expensive) than the G12 and it has a four thirds sensor considerably larger (over 5 x the light-gathering area).

Together with the Nikon Coolpix, Canon Powershot P7000 G12 is the largest "traditional" (i.e. fixed lens, small sensor) compact camera currently available. Is the comfort of its 28-140 mm (equivalent) embedded, zoom and articulated LCD enough to make it stand out from today's crop of compact cameras and mirrorless interchangeable lens? Read our quick review to find out. The G12 is very similar to its predecessor, the G11, in terms of specifications, but Canon has made some significant improvements. Here is a list of the main differences: check the ISO slightly lighter (4 g) higher resolution video mode (720 p up to VGA) up to 12800 ISO expansion (2 .5MP) in 1/3 EV stepsNew front control dial (similar to that found on the EOS DSLR) greater choice of appearance ratiosHybrid IS modeHDR modeElectronic spirit levelTracking AF mode Video mode • MOV [h.264 + Linear PCM (stereo)]:
1280 x 720 at 24 fps
640 x 480 @ 30 fps
320 x 240 @ 30 fps
Miniature effect (HD), (L) 6 fps, 3 fps, 1.5 fps
• MOV [h.264 + Linear PCM (monaural)]:
640 x 480 @ 30 fps
• 320 x 240 @ 30 fps MOV [h.264 + Linear PCM (stereo)]:
1280 x 720 at 24 fps
640 x 480 @ 30 fps
320 x 240 @ 30 fps
Miniature effect (HD), (L) 6 fps, 3 fps, 1.5 fpsAspect Ratios • 16: 9
• 3: 2
• 4: 3
• 1: 1
• 4: 5 • 16: 9
• 3: 2
• 4: 3
• 1: 1
• 4: 5LCD screen • 3.0 TFT LCD monitor "
• 460,000 dots
• Approx. 100% coverage
•2.8? Angle TFT LCD monitor of Various
• 460,000 dots
• Approx. 100% coverage • 2.8 "" Vari-angle TFT LCD monitor
• 460,000 dots
• Approximately 100% coverageViewfinderReal-image zoom, optical zoom viewfinderReal-image, optical viewfinder

If you're new to digital photography, you can read some of our digital photography Glossary before diving into this article (it may help to understand some of the terms used).

Conclusion/recommendation/ratings are based on the opinion of the author, you should read the entire review before making any decision. Images that can be displayed with a larger size have a small magnifying glass icon is in the lower-right corner, click to view larger image in a new window.

To navigate this article simply use the next/previous page buttons or jump to a specific page using the drop-down list in the navigation bar at the top of the page. You can support this site by ordering through your affiliate link that appears at the bottom of each page (if available).

This article is copyrighted and may not be reproduced in part or entirely by any means, electronic or printed publications without prior authorization by the author.

DPReview use calibrated monitors at PC normal gamma 2.2, this means that on our monitors we can make the difference between all grayscale blocks below. We recommend that you make the most of this review you should be able to see the difference (at least) between X, Y and z and ideally also A, B and c.


View the original article here

Panasonic Lumix DMC-G2 Review


Revision based on a production of Panasonic DMC-G 2Panasonic G1 was not only the first product of the Micro Four Thirds standard, was also the first interchangeable lens system camera of the world to turn our backs on traditional drawings optical viewfinder and adopt a more compact-camera-live view. The appearance may have been pure DSLR, but the G1 is likely to be remembered as the camera that marked the beginning of the end for the dominance of half a century-long of single lens reflex cameras, interchangeable lens design.While the G1 has been praised for its feature set, responsive handling and, in General, the lack of ability of recording video seemed odd at a time when movie mode were beginning to appear on conventional Slr. The irony that conventional SLR designers who want to add a movie mode have considerably bigger hurdles to jump to Panasonic G1 with fully digital, mirrorless was aggravated by the arrival of the GF1 and GH1 a little later-models of both sports movie mode.But that was then and this is now, and in March, Panasonic announced not one, but two successor models (both with movie mode) to the G1, but break the line in a budget version (G10, reviewed later) and the model featured here, the G2. The reasoning behind the decision is simple-cut material cost as a high resolution viewfinder allows Panasonic to compete with the downward DLSRs that dominate the shelves of retailers big box. G10 adds little G1 beyond a movie mode (MJPEG), but loses most of the feature definition G1 (great, high res EVF, swivel screen), so that for us the G2 is by far the most interesting model. In both cases, the physical structure and the sensor inside are not fundamentally changed in this update.The G2 is an evolutionary update-but solid-the G1, which answers some of the criticisms of the original model, adding the above video mode (720 p AVCHD lite or MJPEG) and shuffle and widening the external controls. Other great news is that the G2 Gets the touch screen technology (vista on different Panasonic compact DSCs)-not exactly high on our list of ways in which could be improved by the G1, but in the era of iPhone something that certainly looks good for marketing materials, if nothing else.Touch screen cameras are not particularly new idea (one could argue that they have started appearing before user interfaces or touch-sensitive technology were really ready), but this is the first interchangeable lens camera that we saw to add functionality. Basically, the G2 touch screen options is in addition to, rather than a replacement, traditional controls. 12.1 million pixels (effective) 3/4 LiveMOS sensorVenus HD II engine with intelligent car and ResolutionMovie Intelligent capture (720 p) at formats3 2.0 Lite AVCHD or M-JPEG "multi-angle 460,000 dot touchscreen display1.4 million dot color electronic ViewfinderExternal mic connection

The G2 features a touch-sensitive screen that can be used to select the focus point, adjust the camera settings and even fire the shutter. However, conventional controls have been removed, so it can work almost exactly like a G1. Provides an oddly-shaped stylus, but we found the display quite reactive pressure sensitive to not need it.

The G2 uses the eye sensor to the right of the electronic viewfinder (inherited from G1), to detect when your face is close to the viewfinder and disables the touchscreen, to prevent unintentional nose operation.

Together with the G2 and G10, Panasonic has announced a new kit lens-a lightweight, larger, less extensive 14-42 mm F3.5-5.6. Loses its power O.i.s. image stabilization, passing control to the camera body. The body of a lens longer than 5 mm, mounting of plastic and other materials have helped change the 14-42 mm shed 30 g compared to the 14-45 mm 192 g.

The optical design has changed, but the basic specification of 12 items (1 of them aspherical lenses), in 9 groups is maintained. Panasonic says that performance standards should be the same as its predecessor; This we will see later in the review.

If you're new to digital photography, you can read some of our digital photography Glossary before diving into this article (it may help to understand some of the terms used).

Conclusion/recommendation/ratings are based on the opinion of the author, you should read the entire review before making any decision. Images that can be displayed with a larger size have a small magnifying glass icon is in the lower-right corner, click to view larger image in a new window.

To navigate this article simply use the next/previous page buttons or jump to a specific page using the drop-down list in the navigation bar at the top of the page. You can support this site by ordering through your affiliate link that appears at the bottom of each page (if available).

This article is copyrighted and may not be reproduced in part or entirely by any means, electronic or printed publications without prior authorization by the author.

DPReview use calibrated monitors at PC normal gamma 2.2, this means that on our monitors we can make the difference between all grayscale blocks below. We recommend that you make the most of this review you should be able to see the difference (at least) between X, Y and z and ideally also A, B and c.


View the original article here

Friday, February 4, 2011

Adobe Photoshop Lightroom 3 Review


Revision based on Lightroom 3.0The ubiquity of Adobe Photoshop software is staggering. Photoshop is 20 years old this year and in 2010, Adobe's flagship product is still probably the standard against which all other image manipulation software is judged. Originally developed primarily for graphic design professionals, in the last decade that Photoshop has expanded dramatically to meet the needs of a broad and diverse group of clients, including a new generation of enthusiasts and professional digital photographers. Adobe Photoshop is so firmly rooted in the collective consciousness, that became a verb-the expression "of Photoshop is an image now is commonly accepted to mean digital manipulation of any kind, using any software.The problem, from the perspective of many passionate photographers, is that Photoshop has become so huge, so complex and so a piece of software that most of its functionality is obscure, or at least away from their immediate comprehensive requirements. It is also extremely expensive and currently retails for $ 999-more than a lot of consumer level DSLRs. is there a scaled down version of Photoshop CS5 and Adobe Photoshop elements 8 is a great piece of software at a good price. However, as CS5, 8 elements (and its predecessors) are still primarily a space in which to perform complex adjustments to the pixel level for individual images. Although considerably less bloated than the full version of Photoshop, elements, yet offers more features than a lot of photographers-and ironically never really need many professionals. And this is where Photoshop Lightroom comes in. essentially, Lightroom lets photographers to do three things very quickly: organize batches of images, adjust them and output. This view shows the ' Development '. On the left are Lightroom preset, various settings along the bottom is the filmstrip file browser and on the right is the adjustment window, which contains several tools, from the fairly standard white balance and exposure to lens correction sliders, cropping, cloning and neutral gradient filter options.

Although Lightroom is at its best when you edit images in RAW format, can also be used to sort and manipulate JPEG and TIFF files, but using a more limited range of adjustment options.

Adobe Photoshop Lightroom has seen the light of day, in January 2006, as a beta publicly available. Its recipients, then as now, was professional photographers and enthusiasts who want to organize and edit pictures-mainly-RAW files quickly and simply. Why not offer levels or Photoshop CS5 various graphic design oriented features, and originally offered very little in terms of level of pixel adjustments both.In its original incarnation, Photoshop Lightroom was little more than an organiser of a sophisticated file that is linked to an image manipulation and RAW conversion engine. Four years later, and Lightroom 3 remains primarily a tool of workflow, but what sets it apart from other, purely organizational software (and its predecessors) is its ability to impressive image manipulation. The greatest feature is reflected in its relatively high cost, $ 99 to upgrade from a previous version, or $ 299 full price. New RAW conversion engine (same as ACR 6 for Photoshop) * Non-destructive editing64 compatibility fixes * bit * lens * watermark image Flickr integration * improved Curves tool * Tethered shooting (currently limited to selected Canon and Nikon DSLR) * support for video files (Organization and tagging only-does not change) * filter * perspective correction adjustments of film grain simulation * import, export and global organization, with more output options (DNG, TIFF, JPEG) easy synchronization of adjustments across multiple imagesOffline management library (i.e. If the images are stored on an external drive offline) Photoshop integration

* New/improved in Photoshop Lightroom 3 (compared to Lightroom 1 and/or 2)


If you're new to digital photography, you can read the digital photography Glossary before diving into this article (it may help to understand some of the terms used).

Conclusion/recommendation/ratings are based on the opinion of the reviewer, you should read the entire review before coming to its conclusion.Images that can be displayed with a larger size have a small magnifying glass icon is at the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window.To pass the review simply use the next/previous page buttons to navigate to a particular section, choose the section drop-down or select it from the top navigation bar.DPReview calibrate their monitors using color vision optical at the PC normal gamma (fairly well accepted) 2.2, this means that on our monitors we can make the difference between all grayscale blocks (computer generated) below. We recommend that you make the most of this review, should be able to see the difference (at least) between X, Y and z and ideally A, B and c. This article is Copyright 2010 and may not, in whole or in part, be reproduced in any electronic or printed publications without prior permission from the author.

View the original article here

Canon EOS 60 d Review

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Review based on a production Canon EOS 60D

Canon's X0D series has throughout its life appealed to a wide range of photographers, from enthusiasts and semi-pros through to some pros who appreciated having a lightweight option. Each model offered a high enough specification (usually in terms of build quality and AF sophistication) to ensure it was both aspirational and attainable for users who had out-grown their Rebel/XX0D series. However, the feature set always left a sizeable gap below the company's full-blown 'pro' models.

The arrival of the EOS 7D, with its highly configurable 19-point AF system and 8 frames per second continuous shooting capability changed much of this - here was a 'mini 1D' that drew the attention of many people who previously would have been X0D customers. However, the price tag (a 30% premium over the 50D at launch) pushed it beyond the reach of most people who weren't making at least a bit of money from their photography.

The 50D (and by extension the X0D range) was starting to look somewhat redundant: expensive (and in some ways outdated) compared to the rebel T2i (EOS 550D), underpowered compared to the EOS 7D. It seemed obvious that Canon needed something to balance out the EOS range to fill the big gap between the Rebel and the 7D. And so we have this, the EOS 60D.

With the 60D Canon has unashamedly moved the X0D range out of the 'semi pro' bracket and instead focused on the enthusiast photographer looking to upgrade from their Rebel. As a result, it's not the obvious continuation of the 30D - 40D - 50D pattern that its naming might suggest. Instead it sits pretty well precisely in the same market position as was once-upon-a-time occupied by the 'Elan' series of 35mm film SLRs (which in Europe were not-so-coincidentally given double-digit model numbers).

So gone is the magnesium alloy construction that featured in previous models, replaced by a lighter weight plastic shell. Naturally the 60D gains some key 'step up' features from the Rebel line (top panel LCD, rear control dial, higher burst rate), including a few that have trickled down from the EOS 7D. There's also a video- (and tripod-) friendly 3:2 ratio articulated LCD. In imaging terms it brings the EOS mid-range in line with those above and below by upping the sensor resolution to around 18MP and adding full HD movie capture.

The EOS 60D also gains a couple of brand-new features of its own. There's now a wide range of color variations (or 'Ambiences') which can be applied to the image when using the scene modes, and whose effect can be previewed on screen in Live View. The 60D also finally gains the ability to convert raw files to jpeg in-camera, including the option to correct for lens aberrations including distortion and chromatic aberration. As an added bonus, you can retrospectively apply new 'Creative Filters' to files you've shot, including 'Grainy Black and White' and 'Toy Camera' looks.

And so, from a spec and feature point of view, the EOS 60D sits almost exactly half-way between the EOS 550D and the EOS 7D, with a few new tricks of its own. Which, we think, is exactly where it should be (regardless of the inevitable howls of protest at the apparent 'dumbing down' of the venerable X0D line).

18MP APS-C CMOS sensorISO 100-3200 (expandable to 12,800)5.3 fps continuous shooting1080p HD video recording with manual controlsSD / SDHC / SDXC storageIn-camera raw developmentSubject modes with 'Ambience Selection' (Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochrome)In-camera Creative Filters (special effects)Fully articulated 3.0" screen (3:2)

Placing the 50D alongside the 60D it becomes clear that the new camera is not a simply a direct upgrade but a repositioned model. The most obvious difference is that it's smaller and, of course, no longer features a metal body.

The 60D is smaller than the 50D but its ergonomics are not substantially changed - it'll still feel like a big improvement over a Rebel series camera, though the loss of the metal body means the same won't be true for 50D owners. One welcome addition is signaled by the little receiver window on the handgrip - the 60D is compatible with Canon's IR remote controls.Higher resolution sensor (17.9MP vs. 15.1MP)Accepts SD, rather than CF memory cardsNo flash sync socketWireless Speedlight controlSupport for optional infra-red remote releaseArticulated 3:2 high resolution LCD screenPlastic body shell (8% weight saving)Standard ISO range extends to 6400, rather than 3200User-definable Auto ISO upper limitHD video recording 1080 p30/25/24 or 720p60/50 plus cropped 640 x 480 movie modeNew features: in-camera raw conversion, ambience settings, creative filters, more JPEG optionsNo joystick, no multi-flash support, simplified top plate & info panel, only one Custom mode, no AF micro-adjustSlightly reduced customization optionsRedesigned control layout with slightly fewer buttonsLower burst rateThe camera handling has become slightly more Rebel-like too: the joystick is replaced by a multicontroller the resides within the rear dial, and several of the direct access buttons have been removed. You do, however, get the all-important second dial on the back, plus an info panel on the top.

As you can see from the table below the 60D is not an unequivocal upgrade from the 50D in the same way that previous cameras in the range have been. Essentially it's a 50D in a smaller body, the includes a flip-out screen and the sensor used in the Rebel T2i (550D) and 7D, with all the HD movie recording capability that brings.

ConstructionPolycarbonate resin with glass fibre on aluminum chassisSensor• 22.3 x 14.9 mm CMOS sensor
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 19 million total pixels
• 18 million effective pixels
• 3:2 aspect ratio• 22.3 x 14.9 mm CMOS sensor
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 19 million total pixels
• 18 million effective pixels
• 3:2 aspect ratio• 22.3 x 14.9 mm CMOS sensor
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 15.5 million total pixels
• 15.1 million effective pixels
• 3:2 aspect ratioISO range• Auto ISO (100-3200)
• ISO 100-6400 in 0.3 or 1.0 EV increments
• H (12800) expansion
• Adjustable Auto ISO limit• Auto ISO (100-3200)
• ISO 100-6400 in 0.3 or 1.0 EV increments
• H (12800) expansion• Auto ISO (100-1600)
• ISO 100 - 3200
• 0.3 or 1.0 EV increments
• H1 (6400) and H2 (12800) expansionMovie resolution• 1920 x 1080 (29.97, 25, 23.976 fps)
• 1280 x 720 (59.94, 50 fps)
• 640 x 480 (59.94, 50 fps)• 1920 x 1080 (29.97, 25, 23.976 fps)
• 1280 x 720 (59.94, 50 fps)
• 640 x 480 (59.94, 50 fps)AF sensor• 9 cross-type AF points (f/2.8 at center)
• Center point additionally sensitive with lenses of F2.8 or faster
• AF working range: -0.5 - 18 EV (at 23?C, ISO 100)• 19 cross-type AF points (f/2.8 at center)
• Center point additionally sensitive with lenses of F2.8 or faster
• AF working range: -0.5 - 18 EV (at 23?C, ISO 100)• 9 cross-type AF points (f/2.8 at center)
• Center point additionally sensitive with lenses of F2.8 or faster
• AF working range: -0.5 - 18 EV (at 23?C, ISO 100)Metering sensor• TTL full aperture metering with 63 zone Dual Layer (iFCL)
• Metering range: EV 1 - 20 EV• TTL full aperture metering with 63 zone Dual Layer SPC
• Metering range: EV 1 - 20 EV• TTL 35 zone SPC
• Metering range: EV 0.0 - 20 EVViewfinder• Eye-level pentaprism
• 96% frame coverage
• Magnification: 0.95x
• Eyepoint: 22 mm
• Interchangeable focusing screen Ef-A standard (2 other types optional)
• Dioptric adjustment: -3.0 to +1.0 diopter• Eye-level pentaprism
• 100% frame coverage
• Approx. 1.0x magnification
• Eyepoint: 22 mm
• Fixed screen (Transmissive LCD screen)
• Dioptric adjustment: -3.0 to +1.0 diopter• Eye-level pentaprism
• 95% frame coverage
• Magnification: 0.95x
• Eyepoint: 22 mm
• Interchangeable focusing screen Ef-A standard (2 other types optional)
• Dioptric adjustment: -3.0 to +1.0 diopterLCD panel• 3.0 " TFT LCD
• 1040,000 dots (3:2)
• 100% coverage
• 160 ? viewing angle
• Dual anti-reflection
• Articulated• 3.0 " TFT LCD
• 920,000 dots (4:3)
• 100% coverage
• 160 ? viewing angle
• Coating : Anti-reflection and Solid Structure• 3.0 " TFT LCD
• 920,000 dots (4:3)
• 100% coverage
• 160 ? viewing angle
• Dual anti-reflectionContinuous shooting buffer• Approx. 5.3 fps
• Up to 58 JPEGs, 16 images (RAW)• Approx. 8 fps
• Up to 126 JPEGs (with UDMA card), 15 images (RAW)• Approx. 6.3fps
• Up to 90 frames (with UDMA card), 16 frames (RAW)Memory format • Compact Flash (I, II and UDMA)• Compact Flash (I, II and UDMA)Dimensions145 x 106 x 79 mm
(5.7 x 4.2 x 3.1 in)148 x 111 x 74 mm
(5.8 x 4.3 x 2.8 in)146 x 108 x 74 mm
(5.7 x 4.2 x 2.9 in)

If you're new to digital photography you may wish to read some of our Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

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Dpreview use calibrated monitors at the PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally also A, B and C.


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