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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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.

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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.

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Ricoh GXR A12 50 mm F2.5 Macro Preview

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Review based on a production Ricoh GXR body with firmware v1.05 and A12 50mm lens unit with firmware v1.05

This is the first of two reviews of the GXR; as each module is effectively a completely different camera we've decided to treat them as such and produce separate reviews. This review covers the GXR with the A12 50mm equiv f2.5 (12MP APS-C sensor) module, the next will cover the GXR/S10 24-70mm equiv (10Mp 1/1.7" sensor) combo. The first half of both reviews is the same, covering the GXR camera body and system.

In the short, frenetic history of the digital camera it has often been the smaller, less high profile manufacturers who have taken all the risks and experimented with more unconventional designs and solutions. For despite all the technological advances in the last decade the majority of digital cameras have designs that follow the same basic blueprint as their analog predecessors: they're essentially the same cameras with a sensor in the place of film.

This is especially true in the interchangeable lens camera sector, where the big players (coincidentally those who led the market in the days of film), hampered by the need (desire) to retain compatibility with their legacy analog systems, produce digital SLRs that would feel reassuringly familiar to any photographer from the late '80s or early '90s who by choice or circumstance had missed out on the digital revolution.

Last year saw the first serious challenges to the dominance of the single lens reflex (a design that can trace it roots back over 100 years, and that hasn't changed fundamentally since the 1950s) in the interchangeable lens camera market - thanks to the introduction of Micro Four Thirds by Olympus and Panasonic. Since then Samsung has also introduced a very similar system ('NX') which is based on a larger APS-C sensor.

So when we first heard from Ricoh that they wanted to come and show us a new system camera we presumed it too was going to be variation on the 'mirrorless' design. Then we started to get hints that it was actually a totally new idea (or, as mentioned at the bottom of this page, a very old idea resurrected).

Where Micro Four Thirds and similar systems aim to cut bulk by removing the mirror box, which slims down the camera body and somewhat reduces the size of the lenses (though by how much depends on the sensor size used), they still end up pretty big once you add zoom lenses (and if we're talking about long zooms or telephotos the advantage is all but lost - large sensors require large lenses). Thus the idea that these 'hybrid' cameras can offer SLR quality and versatility combined with compact camera size is simply not possible.

Ricoh's answer to this problem is, to say the least, novel. Rather than selling a camera body with a fixed sensor, the GXR system uses interchangeable lens/sensor units - every lens comes in a sealed unit complete with sensor, shutter, aperture, processing engine (there's also one in the camera body) and the motors necessary to focus the lens (and drive the zoom mechanism if present). You are, essentially, buying a new 'camera' every time you buy the lens: the GXR body is little more than a shell containing the screen, card slot, controls and flash. This radical rethink of the 'interchangeable lens' has some important consequences:

Different lens units can have different sensor sizes and technologies (CCD or CMOS, for example)By using a smaller (compact camera) sensor the GXR system can offer very small zoomsLens units can be designed for specialist applications (video optimized lens and sensor for example)The overall performance of the system is essentially defined by the lens unit, not the bodyEach lens has its own leaf shutter - which will generally be quieter, and offer faster flash sync than the focal-plane shutters used by Micro Four Thirds

The GXR body (which is like a slightly over-sized GR or GX model) can thus be anything from a high speed compact super zoom (a la Panasonic TZ series) to an APS-C compact with a fast prime lens (think Sigma DP2 or Leica X1) simply by swapping lens units. By replacing the lens unit with a compact projector, printer or high capacity storage device it could stop being a camera completely, at least that's the theory.

Unique flat sliding lens mountInterchangeable sealed lens/sensor unitsCompact Magnesium Alloy die-cast body with 'GR coating'Extensive customization options and external controls3.0" 920,000 pixel LCDBuilt-in flash and accessory shoeOptional electronic viewfinderHDMI connector

The standard components of an interchangeable lens camera are split between the GXR body and the lens unit in such a way that the performance of the camera (focus speed, image quality and so on) is to a large degree defined by the latter, with the body taking care of operational aspects and the actual process of taking the picture. Both camera and lens unit have their own Ricoh Smooth Image Engine processor (complete with RAM), though it appears the one in the lens unit is only used for capture and to get raw data off the sensor and convert it from analog to digital before it is sent to the body for processing and file creation. A fast, wide data bus connects the two halves together. To get a rough idea how the components and tasks are split see the table below (or check out the block diagram on the next page).

 JPEG processing and file creation Live view processing and display AV and PC interfaces (external I/O) Raw file processing (incl noise reduction if used) Image stabilization (gyro and sensor shifting) LCD screen and EVF (if attached)

Each lens unit contains instructions and parameters specific to its own sensor and optics, meaning that different lens units will change slightly the features, behavior and performance of the camera body when attached. Some of the lens unit dependant attributes (that we currently know of or can deduce) include:

Image processing parametersNoise reductionMenu options - lens units define what menus you seeDistortion correction (and, presumably, other lens corrections)Shutter speed and aperture rangesProgram mode parameters ('program lines')Specific features (manual focus ring, sensor-shift stabilization etc)Focus speedContinuous shooting speedBuffer (no of frames and speed)Movie capture capabilities (resolution and frame rate)

Essentially, as mentioned elsewhere, with each lens unit you're getting a completely new camera with very different capabilities. Whether this is a good thing or not is going to depend on how well Ricoh does with its stated aim of using highly optimized lens/sensor combinations, and how much it is prepared to invest in producing a range of options that's compelling enough to tempt buyers away from more conventional systems such as Micro Four Thirds.

In the first part of this review (pages 1-12) we will have a close look at the GXR's body, features and user interface. In the second part (studio and real-life tests) we focus on the GXR with the A12 50mm module. The tests with the S10 module will be published in a separate review.

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).

Conclusion / recommendation / ratings are based on the opinion of the author, we recommend that you read the entire review before making any decision. Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of them, click to display a larger image in a new window.

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

This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author.

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.

View the original article here

Samsung NX100 Preview

Preview based on a pre-production NX100 Samsung Samsung was the first company outside of the Consortium Micro Four Thirds mirrorless camera to release an interchangeable lenses. The NX10 DSLR-separately as little fuss about its construction mirrorless, focusing instead on offering capbilities family and the behavior of a smaller body with small lenses. Now its sister model, the NX100 has a slightly different approach-eschews the traditional style of NX10 and embraces the simplest silhouette of a compact camera. And, although its minimalism design makes it look a bit monolithic, is almost identical in size to his peers obvious-the Panasonic GF1 and Olympus E-P 2.More compact dimensions of the camera has a sense of Samsung's previously-announced 20-50 mm F3.5-5.6 zoom lens ' compact ' which comes alongside NX100. It is a retractable zoom that recall the kit 14-42 mm zoom lens for Micro Four Thirds Olympus. Is not the image stabilised and, starting from 30 mm equivalent, it's not quite as flexible as most zoom kit (which tend to begin 27 or 28 mm equiv), but this means that the package remains small and nice camera with zoom mounted.The underlying specification is quite similar to the NX10-uses the same sensor 14.6 megapixel, battery and beautiful OLED screen VGA-equivalent, but you gain a range of features and tweaks that owners of NX10 hopes to receive future firmware updates. However there is a significant omission-the NX100 do not have a built-in flash.Probably the biggest gain is that Samsung has a feature called i-function. The two lenses launched alongside NX100-there is a 20 mm F2.8 prime as well as the 20-50 mm-both have a button ' iFn ' on their left sides allowing the focus rings be used to control the various camera functions. Depending on the shooting mode iFn can be used to adjust the compensation speed, Aperture and shutter exposure with the option of adding ISO and white balance, depending on how you plan to use the camera.In addition, there are a number of changes which make the camera more customizable-the option to select the highest value of ISO that your camera uses in Auto ISO, for example. In itself, these are minor changes, but are the types of options that allow users to better adapt the camera to their way of working, we would like to see.

Alongside NX100, Samsung has launched a range of accessories including a flashgun, GPS units and EVF that slot on the back of the camera.

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.

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.

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Pentax K-r Preview

based on a pre-production Pentax K-r the new slot K-r in the line-up between the Pentax K-x entry-level and fans of model K-7. Visually is much closer to the K-x, but a look under the hood reveals that the new camera has been improved in several areas. More specifically, the K-r now shows the hotspot in the viewfinder when the shutter button is pressed halfway down. The lack of this feature was one of our major criticisms of the K-x and K-m (this is also almost certainly why the K-Prism r is slightly larger than the K-x). Despite the visual similarities to the K-x K-r is equipped with components by: x-K and K-7 and has some completely new features as well. As the K-x video footage captures images and 720 p on a sensor 12.4. As the K-7, pictures and menus can be displayed on a 3.0-inch LCD screen with resolution 921 k pixel. In addition, the K-r offers the most extensive ISO range (100-25,600 extensively) and faster continuous shooting (6.0 fps) all current Pentax DSLR. New features include an interface simple IR (wireless data transfer to compatible devices), a cross-processing mode and a night scene HDR mode. For those photographers who can't decide whether they prefer AA batteries or a proprietary rechargeable battery as the source of their camera to power the K-r offers both options. Comes with a rechargeable AA batteries as standard but can be used with an optional adapter.Apart from the battery new feature the Pentax K-r really does not offer anything new or completely out of the ordinary, but specifies the sheet certainly look very strong for a camera in this class. The K-r RRP at launch is $ 800 (? 599) including the kit lens 18-55 mm. Considering the price of road is likely starts to fall quite soon after the camera is available on dealer shelves looks K-r (at least on paper) as more of a viable alternative to some of the competing models more established competitors.

The following table shows the specific differences in Pentax DSLR line-up. The new model K-r is visually very close to the K-x entry-level but in some areas of the specification surpasses even fans of the K-7.

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 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.

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Fujifilm FinePix X 100 Preview

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First look based on a prototype X100

In amongst all the cameras announced at Photokina 2010 - including enthusiast SLRs such as the Nikon D7000, Canon EOS 60D, Pentax K-5 and Sigma SD1 - one utterly unexpected model stole the show. Fujifilm unveiled the FinePix X100, a compact camera with an SLR-size APS-C sensor and traditional analogue control dials, that hides ground-breaking technology inside a retro-styled body with looks to die for. It's the company's first camera with a large, APS-C sensoraimed at professionals and advanced amateurs since the S5 Pro DSLR of 2006.

Fujifilm may be a company that’s currently best-known for its prolific production of compact cameras, but in reality it has a long tradition of making somewhat left-field, unique cameras aimed at serious enthusiasts and professionals. The company regularly sought out market niches in the days of film, from its Fujica 6x9 format rangefinders, through the GA645Zi medium format ‘zoom compact’, to the TX-1 35mm panoramic rangefinder (better known in Western markets as the Hasselblad XPan), all of which still command premium prices on the used market today. In the digital era it has concentrated mainly on its innovative SuperCCD sensor technology, employing it to provide class-leading dynamic range on cameras such as the S5 Pro and the EXR series of zoom compacts. Along the way it has made some genuine cult classics, including the F30 and F31Fd compacts which earned a reputation as excellent low-light performers.

The X100, though, is something totally different. It’s a beautifully-designed rangefinder-styled camera that squeezes an SLR-size APS-C sensor into its compact body, and sports a fixed, fast F2 maximum aperture semi-wideangle lens with a classic 35mm-equivalent field of view. It uses traditional analogue-style control dials for shutter speed, aperture and exposure compensation, alongside an electronically coupled (‘focus-by-wire’) manual focus ring. But the biggest story is its innovative hybrid viewfinder, which combines a conventional direct-vision optical viewfinder with a high-resolution electronic viewfinder, offering the best of both worlds plus a few unique tricks of its own.

The large-sensor, fixed-lens compact isn’t a new idea, of course, and both Sigma’s DP series and the Leica X1 have already visited this territory. However these haven’t been entirely convincing products, plagued by slow operation, low-resolution LCDs and, in the case of the Sigmas, a somewhat quirky interface. For this reason they’ve struggled to establish a compelling raison d’etre, especially in the face of competition from the new breed of interchangeable lens mirrorless compacts typified by the Olympus Pen series and Sony NEXs. So the real question will be whether Fujifilm has managed to refine the concept, and produce a camera that’s as compelling to shoot with as its specifications (and looks) suggest.

The X100 was shown at Photokina as a non-working prototype, slated for an introduction date of March 2011. Fujifilm says it’s on course to meet that target, and has kindly lent us a working prototype model for a first look, on which this article is based. The camera we have is not fully representative of the version that will hit the retailers’ shelves – certain aspects of the cosmetic finish are different, and the firmware is far from finished. So this won’t quite be our usual detailed preview, but instead a first impression of what the camera’s like 'in the flesh'. If you're interested in the X100, Fuji's own special site is also well worth a visit.

There’s no mistaking what Fujifilm’s design team were thinking when they created the X100. Its two-tone body and analogue-style controls hark back to old rangefinder compacts, and it doesn’t look at all out of place in the company of these 1970s classics. Both Olympus and Leica have recently released retro-styled small cameras in the shape of the E-P1/2 and X1, but the X100 takes the concept to a whole different level. Its flash is even placed in the same position as was once occupied by rangefinder windows.12 megapixel APS-C sized CMOS sensorFixed 23mm F2 lens (field of view equivalent to a 35mm lens on full frame)2.8" LCD screen, 4:3 aspect ratio, 460,000 dotsHybrid optical / electronic viewfinderOVF with 0.5x magnification, projected framelines indicate approx 90% of field of viewEVF with ca 0.5x magnification, 1,440,000 dotsTraditional-style control dials for shutter speed, aperture and exposure compensationISO 100 (L), 200-6400, 12800 (H)Flash hot shoe and built-in flashBuilt-in neutral density filter (3 stops)1280x720 HD movie recording with stereo sound

The composite image below gives an idea of the X100's size relative to some of its competitors, both fixed- and interchangeable-lensed. It's a bit taller than the Leica X1 with which it most closely competes, but this mainly reflects the X100's built-in hybrid viewfinder (X1 users have to make do with the rear LCD or an add-on optical viewfinder). It's also noticeably larger than interchangeable lens cameras like the Panasonic GF1, and particularly the APS-C Sony NEX-5 (from which it's poles apart in terms of control philosophy), but again, neither of these have an eye-level viewfinder either. Of course the X100 is distinctly smaller and more portable than any DSLR fitted with a similarly-fast lens.

The table below lists some of the key specifications of the X100 and its competitors. What's notable is the combination of an unusually fast lens and a large APS-C sensor, which together bode well for its low-light capability.

CameraLens*
(35mm equiv)LCDDimensions & Weight
(with lens, battery + card)Sensor
(effective pixels) 126 x 74 x 54 mm, tbc
5.0 x 3.0 x 2.2 in, tbc12.3 Mp CMOS
(ca. 23.6 x 15.8 mm)124 x 60 x 50 mm, 330g
4.9 x 2.4 x 2.0 in, 10.9 oz
12.2 Mp CMOS
(23.6 x 15.8 mm)119 x 71 x 61 mm, 448g
4.6 x 2.8 x 2.4 in, 15.8 oz
12.1 MP LiveMOS (17.3 x 13 mm)111 x 59 x 54 mm, 361g
4.4 x 2.3 x 2.1 in, 12.7 oz14.2 Mp HD CMOS
(23.4 x 15.6mm)115 x 64 x 56mm, 280g
4.5 x 2.5 x 2.2 in, 9.9 oz4.6 MP x 3 X3F
(20.7 x 13.8 mm)

*The Panasonic DMC-GF1 and Sony NEX-5 both accept interchangeable lenses

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.

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Olympus E-5 Preview

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Review based on a pre-production E-5Taking what could be most politely described as a ' considered ' approach to product upgrades, Olympus has lifted the curtain on the third generation of its professional SLR, in the form of the much anticipated and-5. Olympus introduced the world to the first Four Thirds camera, the E-1, back in June 2003, and finally got round to updating it with the E-3 four years later. We got a sneak preview of the E-3 's successor a couple of weeks back we'll update this short article to a full review as soon as we get to production and-5 in the office.It is perhaps indicative of where Olympus's priorities lie-or the way the market is headed-that whereas the E-3 took the E-1 back to the drawing board and introduced several new features, the E-5 is probably best described as a warm over of its predecessor. It's also interesting to note that it benefits from a ' trickle up ' of technology from the latest developments in the company's Micro Four Thirds cameras-a situation unusual for what is, effectively, the hero product in the E-system range.The long delay has caused some wild speculation about the E-5, borne not out of dissatisfaction with the existing model (in fact most E-1 and E-3 users are still happily taking pictures with their ' old ' cameras), but, I suspect, out of a need to see Olympus competing with the ' big boys ' at this level, and the need for a clear sign that it hasnt abandoned Four Thirds in all the excitement surrounding the mirrorless system. The E-5 sat between two of its most obvious competitors (in spec terms): the Nikon D300s and Canon EOS 50 d.At first glance the E-5 (and the lack of any other E-system camera announcements) is unlikely to calm those fears; if anything it confirms that precious little R&D resource is going into the reflex system. Dig a little deeper, however, and you realize that the E-5 is a perfectly sensible upgrade that takes an excellent camera and addresses nearly all the complaints and offers, according to the marketing blurb, the best image quality ever seen in an Olympus DSLR. It also throws in a nice sprinkling of 2010 must-have features (such as movie mode).It is, without a doubt, room aimed at the Olympus faithful, designed (as described to us) to ' finally offer image quality to match that of Zuiko lenses. Olympus knows that the E-system lenses are the jewel in its crown and ain't going to abandon that-or its users. The future for Zuiko Digital lens owners might not be a reflex camera (we've had strong hints that a common live view only FT/MFT platform lies ahead), but Four Thirds isn't going away.Evolutionary rather than revolutionary, the E-5 is, effectively, an E-3 with a bigger screen, an updated sensor and processor and a few new features. Physically the only changes are a spot of button unattainability (necessitated by the new screen) and the long-overdue replacement of the redundant xD card slot with an infinitely more useful SD version. Inevitably after three years there's a lot of feature enhancements, though these are (almost) all lifted from the latest Micro Four Thirds models.The thing Olympus is really pushing with the E-5 is image quality. It's not a new sensor (from what we can tell this is almost certainly the same as the one in the E-PL 1), but it does sport a redesigned (for which read lighter) Low Pass Filter (with moir? removed by the processor) and a new ' professionally tuned ' Image Engine (The TruPic V +). The combination of Zuiko Digital lens, the new sensor and the new processor is claimed to offer image quality better than any 12MP APS-C camera, and, according to Olympus, many with even higher pixel counts.Let's have a look at the main changes: New sensor (12MP Live MOS vs 10MP) New TruPic V + processor (E-3 was TruPic III) Large 3.0? vari-angle 921k screenFast AF Sensor (Inc. Face Detection) 720 p movie mode (AVI M-JPEG) + Stereo Mic Audio recordingHDMI and connectionsArt Filters (10, including new Dramatic Tone Filter) top sensitivity of ISO 6400 (vs E-3 's ISO 3200) More customization optionsRedesigned color-coded menus systemNew features including Level Gauge in the viewfinder, multi-exposure,-Enhance, frame 7 AEBSD/CF slots (E-3 was xD/CF) Looking at the E-3 and-5 together it's clear that from a photographic point of view the models share a lot more than they differ, with most of the changes relating to the sensor and to digital features (most of which have already debuted on MFT models). The main physical differences can be seen below-from the front they look almost identical, but round the back the larger, higher resolution screen takes up more space and has meant some buttons have moved (and a couple have gone altogether).

Apologies if this list isn't exhaustive, but it should give you an idea of where the key differences lie):

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.

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Panasonic Lumix DMC-GF 2 Preview

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Preview based on a pre-production GF2

It's been fourteen months since Panasonic announced its first compact-body 'rangefinder-like' Micro Four Thirds camera, in the shape of the DMC-GF1. This quickly gained a following as arguably the best 'enthusiast' camera of its type, with its solid feature set, fast reactions and body bristling with external controls. But since then the market has moved on and new contenders have appeared on the scene, with Sony's NEX cameras in particular making a splash due to their impressive miniaturisation and excellent image quality. Under this new-found pressure of competition, the GF has slimmed-down and emerged with a new, sleeker look.

The DMC-GF2 is essentially a smaller, externally-simpler version of the GF1 that's acquired many of the feature upgrades we first saw on the G2 (most notably the touch-sensitive screen) plus Full HD video. Its body is smaller in every dimension than its predecessor's, making it very nearly as petite as the Sony NEX-5. In the process, though, it's shed a significant number of those external controls that until now have been the hallmark of the G series - most obviously the exposure mode dial, but also the drive-mode lever that sat beneath it, along with several of the buttons on the back. This places rather greater reliance on the touchscreen for quick operation compared to the G2, and Panasonic has redesigned the interface (and the Quick Menu in particular) to facilitate this.

These changes all signal a clear repositioning of the GF series in the market. Whereas the GF1 was unashamedly a camera for enthusiast photographers, the GF2 is now aimed much more at compact camera owners looking for an upgrade. According to Panasonic the design emphasis has been on offering creative controls as opposed to just providing a simple, unintimidating camera which happens to contain a larger sensor.

Despite this, there's still a smattering of clear updates and improvements over the previous model, and while they're generally more evolutionary than revolutionary, this mainly reflects the maturity of the GF1 design. Most notably, the GF2 gains Full HD movie recording capability (1080i at 60fps from 30p capture) that is supported by a stereo microphone on the top plate. In spec terms, at least, this makes for the most capable interchangeable lens camera movie capability aside from the GH2 (which offers 1080i at 60fps from 60p capture). On the photographic side it inherits the G2's ability to shoot at 2.6 fps while maintaining live view, along with its ISO 6400 maximum sensitivity, improved Auto ISO program and a dedicated iAuto button on the top plate. Meanwhile 3D fans will undoubtedly be delighted by its support for the new H-FT012 lens.

Much of the key spec, though, remains unchanged, including the stalwart (i.e. ageing) 12Mp Four Thirds sensor and the 460k dot 3" 3:2 aspect ratio LCD. The hot shoe and associated EVF port is still present and correct, alongside the little pop-up flash, and thankfully Panasonic hasn't been tempted to discard the clickable thumbwheel that operates the primary exposure controls. However the pared-down body design inevitably means the camera is powered by a new, slightly smaller battery.

One slightly unexpected marketing change is that the GF2 will not be bundled with the 20mm F1.7 pancake lens, but instead come with a choice of either the latest 14-42mm zoom, the diminutive 14mm F2.5 pancake, or in a twin lens kit with both. We're a bit mystified by this decision, to be honest - yes the 14mm gives the smallest possible package, but as far as we're concerned the stop-faster 20mm is a much more useful all-rounder. The GF2 will be available in a choice of colors depending on market (out of black, red, silver, white and pink), and for buyers of the red and black versions the 14mm lens will come with a black (as opposed to steel grey) barrel.

The trimming-down exercise Panasonic has applied to the GF2 means that it's now one of the smallest cameras in its class. Here it is with the 14mm F2.5 lens sitting between two of its direct competitors each kitted out with their respective wideangle pancakes, the Sony NEX-5 + 16mm F2.8 and Samsung NX100 + 20mm F2.8 (the latter is much the same size as the GF1 and the Olympus E-PL1).

The GF2 is, unusually for Panasonic's recent releases, substantially different in design from its predecessor. Here it is sporting the 14mm F2.5 pancake alongside the GF1 wearing the 20mm F1.7. The sleeker, simplified design is immediately apparent.

Here's a brief summary of the major changes between the GF2 and GF1:

Smaller and lighter bodyLCD screen now touch-sensitive, with added anti-reflective coatingFewer external controls (mode dial, drive mode lever, AEL and DOF preview buttons removed)Completely revamped, fully-customizable Quick Menu designed for touchscreen operationBuilt-in stereo microphone1080i 60fps full HD video (from 25p sensor output)Continuous shooting at 2.6fps with Live ViewIncreased maximum sensitivity (ISO 6400)iAuto button on top plateVariable 'Peripheral Defocus' control in iAuto mode, with live previewFull support for F-FT012 3D lensNo remote release socket2nd curtain sync and flash exposure compensation no longer availableNew smaller DMW-BLD10 battery with slightly lower capacity (7.3Wh vs 9 Wh)Sensor• 4/3 type MOS ('Live MOS sensor')
• 13.06 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 13.06 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter arrayMovie mode• AVCHD :
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

• Stereo sound (with adjustable rec volume)

• AVCHD Lite:
1280 x 720p 60 fps
(Approx 17 or 9 Mbps)

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

• Mono sound

LCD monitor • 3.0" TFT LCD monitor
• Touch sensitive
• 460,000 dots
• Approx 100% frame coverage
• 3.0" TFT LCD monitor
• 460,000 dots
• Approx 100% frame coverageRemote release• Wired remote control DMW-RSL1 (optional)Dimensions113 x 68 x 33 mm
(4.4 x 2.7 x 1.3 in) 119 x 71 x 36 mm
(4.7 x 2.8 x 1.4 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.

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Olympus XZ-1 Preview

Preview based on a pre-production XZ-1In 2001, when it was possible to charge $ 999 for a compact camera, Olympus C-3040Z brewed, C-4040Z and C5050Z which contained some of the brightest ever zoom appear on these cameras. Unfortunately, as the years have gone ahead and prices fell, Olympus moved away from this part of the market and has been a long time since we looked at it for leading compact class.Despite the declining price of entry-level DSLR and the arrival of their more compact, mirrorless contenders, the compact sector has seen a shooting enthusiast, with Samsung and Nikon and Canon weighing-in going with bringing a second template for melee (revive the PowerShot S90 ' series to sit alongside the company's courageous g series). Olympus, meanwhile, has remained quiet.Today it becomes obvious that it hasn't been sitting-has clearly been watching the sector very closely and has studied the cameras available sharply. The result is the XZ-1: a compact enthusiast that takes the best elements of its rivals and synthesize them into a very attractive package.Of course, there's a bright lens with XZ-1, becoming the first company ever to wear compact designation respected ' Zuiko '. And it is clear why the company wants to draw attention to optics, after creating the lens zoom brighter than any current compact while still offering a range really useful. The lens of i. Zuiko is F1.8 at 28 mm equivalent and a F2.5 yet very impressive setting of 112 mm.But it doesn't end the specs on the lens-XZ-1 is built around a high sensitivity 1/1.63 "CCD, along with his peers, making it one of the biggest sensors to appear in a compact camera with a built-in lens. In addition, two control knobs (including a quadrant S90-style around the lens) and a brilliant high resolution OLED screen. Other highlights include a high-end flash hot shoe, and the ability to wirelessly control flashguns. It is difficult to imagine what could have mounted Olympus body nigrifons on attractive metal XZ-1.Olympus XZ-1 Specifies highlights: high sensitivity 10MP CCD sensor28-112 mm equivalent: 2.5-lensF1.8 apertureCCD-maximum displacement control dials image stabilizationTwin, including one around lensISO 100-6400New V TruPic processor (as in pen series of company) large 3.0? 621 k (VGA) display720p OLED film mode (30 fps Motion JPEG) HDMI Micro connector6 art filters (like the series of pen) On-camera flash in conversionBuilt-RAW, hotshoe flash and remote controlBuilt-in ND filter

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 2011 and cannot, in whole or in part, be reproduced in any electronic or printed publications without prior permission from the author.

View the original article here