Showing posts with label Review. Show all posts
Showing posts with label Review. Show all posts
Sunday, February 20, 2011
Just posted: Olympus XZ-1 review
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).
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.
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.
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.
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).
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.Canon EOS 60 d Review
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Review based on a production Canon EOS 60DCanon'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)
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 rate
The 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.
• 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)
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Review based on a production Canon EOS 60DCanon'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).
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.
Compact ' Super Zoom ' Group test Review
It is now more than a year since we published our last test superzoom group and despite the hype surrounding the mirrorless system cameras as Micro Four Thirds or the Sony NEX and the fact that entry level DSLR are becoming increasingly accessible, cameras are as popular superzoom with consumers, as always. It's easy to see why. The combination of a large zoom range from brief to super telephoto lens, DSLR as ergonomics and an attractive price point of guarantee that these cameras will appeal to a broad audience.
All major camera manufacturers do now at least one ' super zoom ' in their training and the task of choosing between different cameras is complicated by specifying minimum frequency and design differences between them. We want to help you find the camera that is right for you and to this end, we decided to look at nine of the the latest models and run them through our testing procedures.
Sensors on these cameras are considerably lower than you will find a DSLR or model mirrorless interchangeable lens. One of the advantages of a smaller sensor is that, compared to a SLR, you need a lens physically much smaller. As you can see from the cameras in this test, you can adapt a whopping 20 x, 24 x or even greater zoom range in a small enough to be manageable. Since 2000, Sony and Olympus had models with 10 x zoom that, although cumbersome (and expensive) compared to modern superzooms, were small and much less expensive than a digital SLR with lens covering the equivalent range. And these key advantages-price and portability-gave assurances that, despite the arrival of budget digital SLR camera and mirrorless cameras superzoom remained popular.The latest generation of superzoom cameras incorporate these ranges of large zoom, if you were to try to match them for use on a full-frame DSLR, would end up with something so big and imposing expect that need a special weapons export license. Even on these small-sensor cameras, lenses are not necessarily large enough to dominate the design of the camera. The result is that most of these superzooms look very similar to SLR-a hand-grip with a big pipe hanging in the front.The race between manufacturers to maintain a competitive advantage, has seen the average range zoom extend from 10 x to more than double that figure. The good news is that, as well as engaged in an arms race to see who can put the sticker bigger zoom ratio on the front of the camera manufacturers have also started to expand end wide lens-wide as equivalent focal length of 24 mm in the case of Fuji HS10. all templates in this group of ten offer zoom ranges of at least 18 x, coverage varies from wide angle to super telephoto lens and all the features of some form of optical image stabilization, or mechanical-essential when working with these extreme enlargements. Other common features include electronic viewfinders, complete control, HD Photo and video mode, for the most part, have a very similar facility. Some of this new generation of superzooms feature backlit CMOS sensors instead of more conventional CCDs. Advantages of CMOS on CCD also include lower noise levels and-especially-top frame capture rate is still and video. However, the photodiodes on conventional CMOS sensors are typically smaller, because of their associated circuits, which leads to lowering the efficiency of light-gathering and correspondingly higher noise. So-called "technology of the back illuminated CMOS simply means that the sensors are more efficient at collecting light, thanks to the circuit which accompanies the photodiodes to the back of light gathering area. This should lead to greater efficiency, leading to the cleanest output than the conventional CMOS, especially in low light at higher ISO settings.Panasonic was probably the first producer of great to popularize the concept of SLRs like superzoom with the FZ10 FZ20 and back in 2003/2004. However, today virtually all major manufacturers have recognised the potential gain in this market sector and have at least a superzoom in their model line-up. We have selected nine of the most recent models for this test.
Canon Powershot SX20 ISCasio EX-FH 25Fujifilm S2500HDKodak Z981Nikon HS10Fujifilm FinePix FinePix Coolpix P100Panasonic Lumix DMC-FZ 38Pentax X90Samsung WB5000Please note that we would have to include the 30 x zoom, Olympus SP-800UZ but unfortunately, Olympus was not able to provide us with a camera in time for this group test.These are sophisticated cameras feature set is large, so that bones specifications shown here won't say a great deal, but are a good starting point.Battery life quoted in review is provided by the manufacturers, based on CIPA standardized tests. The figures, unless otherwise specified, are based on using the LCD screen. NiMH refers to 2500 mAh rechargeable cells.
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Ricoh GXR S10 24-72 mm F2.5-4.4 VC Review
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Review based on a production Ricoh GXR body with firmware v1.05 and S10 24-72mm lens unit with firmware v1.05This is the second 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 S10 24-72mm equiv (10Mp 1/1.7" sensor) module, the previous one had a look at the GXR/A12 50mm f2.5 equiv (12MP APS-C 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 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)
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Review based on a production Ricoh GXR body with firmware v1.05 and S10 24-72mm lens unit with firmware v1.05This is the second 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 S10 24-72mm equiv (10Mp 1/1.7" sensor) module, the previous one had a look at the GXR/A12 50mm f2.5 equiv (12MP APS-C 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 connectorThe 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.
Olympus XZ-1 Review
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Revisione basata su un produzione XZ-1 in esecuzione del firmware 1.0Nel 2001, quando ? stato possibile carica $999 per una fotocamera compatta, Olympus prodotta la C-3040Z, C-4040Z e C5050Z che conteneva alcuni il zoom pi? brillanti mai apparire su tali fotocamere. Purtroppo, come gli anni sono andati avanti e i prezzi sono scesi, Olympus spostata lontano da questa parte del mercato ed ? stato un lungo tempo poich? abbiamo guardato ad esso per leader classe compatta.Nonostante il calo prezzo di entry-level DSLR e l'arrivo dei loro concorrenti pi? compatti, mirrorless, il settore compatto appassionato ha visto una ripresa, con Samsung e Nikon pesatura-in e Canon andando per quanto portando un secondo modello per la mischia (il S90 rivivere la PowerShot ' serie a sedersi a fianco coraggioso g series dell'azienda). Olympus, nel frattempo, ? rimasta tranquilla.Con il lancio di XZ-1 diventa evidente che Olympus non ? stato seduto inerti - invece ha chiaramente state guardando il settore molto da vicino e ha studiato le telecamere disponibili acutamente. Il risultato di questo studio ? un appassionato compatto che accetta gli elementi migliori dei suoi rivali e li sintetizza in un pacchetto molto attraente.Naturalmente, c'? una lente luminosa, con XZ-1 diventando il primo compatta della societ? mai indossare la sua designazione rispettato 'Zuiko'. Ed ? chiaro perch? la societ? vuole attirare l'attenzione per l'ottica, dopo aver creato la lente zoom pi? brillante di qualsiasi compact corrente mentre ancora offrendo una gamma veramente utile. La lente di i.Zuiko ? F1.8 alla fine equivalente 28 mm e un F2.5 ancora molto impressionante con l'impostazione di 112 mm.Ma non finisce le specifiche sulla lente - XZ-1 ? costruito intorno ad un'elevata sensibilit? 1/1,63 "CCD che, insieme con i suoi coetanei, rende uno dei pi? grandi sensori a comparire in una fotocamera compatta con un'ottica incorporata. A questo si aggiunge due manopole di controllo (compreso un quadrante S90-stile intorno alla lente) e un brillante schermo OLED ad alta risoluzione. Altri punti salienti high-end includono un flash hot shoe e la possibilit? di controllare in modalit? wireless il tuo flashguns di bordo. ? difficile immaginare che cosa Olympus potrebbe hanno montato nel corpo di nigrifrons su metallo attraente la XZ-1.Alta sensibilit? 10MP CCD sensor28-112 mm equivalente: 2.5-lensF1.8 apertureCCD-spostamento massimo stabilizationTwin controllo immagine quadranti, compreso uno intorno lensISO 100-6400New V TruPic processor (come nella serie di penna dell'azienda) grandi 3.0 "621 k (equivalente VGA) display720p OLED film modalit? (30 fps in formato Motion JPEG) HDMI Micro connector6 d'arte filtri (come per la serie di penna) nella fotocamera RAW conversionBuilt-in flash, remoto e hotshoe flash controlBuilt-nel filtro ND
questo articolo ? Copyright 2011 e non pu? in tutto o in parte essere riprodotta in qualsiasi supporto elettronico o cartaceo senza la preventiva autorizzazione da parte dell'autore.
Revisione basata su un produzione XZ-1 in esecuzione del firmware 1.0Nel 2001, quando ? stato possibile carica $999 per una fotocamera compatta, Olympus prodotta la C-3040Z, C-4040Z e C5050Z che conteneva alcuni il zoom pi? brillanti mai apparire su tali fotocamere. Purtroppo, come gli anni sono andati avanti e i prezzi sono scesi, Olympus spostata lontano da questa parte del mercato ed ? stato un lungo tempo poich? abbiamo guardato ad esso per leader classe compatta.Nonostante il calo prezzo di entry-level DSLR e l'arrivo dei loro concorrenti pi? compatti, mirrorless, il settore compatto appassionato ha visto una ripresa, con Samsung e Nikon pesatura-in e Canon andando per quanto portando un secondo modello per la mischia (il S90 rivivere la PowerShot ' serie a sedersi a fianco coraggioso g series dell'azienda). Olympus, nel frattempo, ? rimasta tranquilla.Con il lancio di XZ-1 diventa evidente che Olympus non ? stato seduto inerti - invece ha chiaramente state guardando il settore molto da vicino e ha studiato le telecamere disponibili acutamente. Il risultato di questo studio ? un appassionato compatto che accetta gli elementi migliori dei suoi rivali e li sintetizza in un pacchetto molto attraente.Naturalmente, c'? una lente luminosa, con XZ-1 diventando il primo compatta della societ? mai indossare la sua designazione rispettato 'Zuiko'. Ed ? chiaro perch? la societ? vuole attirare l'attenzione per l'ottica, dopo aver creato la lente zoom pi? brillante di qualsiasi compact corrente mentre ancora offrendo una gamma veramente utile. La lente di i.Zuiko ? F1.8 alla fine equivalente 28 mm e un F2.5 ancora molto impressionante con l'impostazione di 112 mm.Ma non finisce le specifiche sulla lente - XZ-1 ? costruito intorno ad un'elevata sensibilit? 1/1,63 "CCD che, insieme con i suoi coetanei, rende uno dei pi? grandi sensori a comparire in una fotocamera compatta con un'ottica incorporata. A questo si aggiunge due manopole di controllo (compreso un quadrante S90-stile intorno alla lente) e un brillante schermo OLED ad alta risoluzione. Altri punti salienti high-end includono un flash hot shoe e la possibilit? di controllare in modalit? wireless il tuo flashguns di bordo. ? difficile immaginare che cosa Olympus potrebbe hanno montato nel corpo di nigrifrons su metallo attraente la XZ-1.Alta sensibilit? 10MP CCD sensor28-112 mm equivalente: 2.5-lensF1.8 apertureCCD-spostamento massimo stabilizationTwin controllo immagine quadranti, compreso uno intorno lensISO 100-6400New V TruPic processor (come nella serie di penna dell'azienda) grandi 3.0 "621 k (equivalente VGA) display720p OLED film modalit? (30 fps in formato Motion JPEG) HDMI Micro connector6 d'arte filtri (come per la serie di penna) nella fotocamera RAW conversionBuilt-in flash, remoto e hotshoe flash controlBuilt-nel filtro ND
La straordinaria luminosit? lente F1.8-2.5 pi? che consentono di mantenere le impostazioni ISO gi? in condizioni di scarsa illuminazione. Permette anche di un sorprendente grado di controllo sulla profondit? di campo. Talvolta ? difficile lavorare fuori come molto o poca profondit? di campo una lente produrr?, grazie a diverse dimensioni del sensore (e il modo chiaro in cui essi sono spesso designati), ma i fattori chiavi sono la dimensione fisica dell'apertura e l'angolo di vista.
In questo caso, alla fine del suo zoom, lungo il XZ-1 ha un'apertura con un diametro di 9.6 mm a 112 mm equivalenti, che confronta favorevolmente per l'apertura massima di 9,8 mm a 83 mm equivalente a un tipico APS-C 18-55 F3.5-5.6 kit di lenti. Significa la XZ-1 dovrebbe dare almeno come offuscata uno sfondo e farlo a qualcosa di molto pi? vicino alla lunghezza focale ritratto tradizionali. Significa inoltre che il XZ-1 dovrebbe dare un maggiore controllo sulla profondit? di campo di un kit di lenti Micro Four Thirds, poich? essi tendono ad offrire 7,5 mm a 84 mm equivalente.
All-in-all, significa che il XZ-1 offre un controllo simile su profondit? di campo e una gamma di lunghezza focale pi? flessibile rispetto la maggior parte DSLRs o mirrorless telecamere con loro kit di lenti, rendendola un'alternativa competitiva, a meno che non si prevede di acquistare lenti addizionali.
Se siete nuovi alla fotografia digitale, puoi leggere il Glossario di fotografia digitale prima di tuffarsi nel presente articolo (pu? aiutare a capire alcuni dei termini utilizzati).
questo articolo ? Copyright 2011 e non pu? in tutto o in parte essere riprodotta in qualsiasi supporto elettronico o cartaceo senza la preventiva autorizzazione da parte dell'autore.Canon PowerShot SD4000 is (IXUS 300 HS/IXY 30S) Review
The range of SD/IXUS consists of ' style oriented ' of Canon compact cameras, and like the rest of the market is fragmented into many niches, the range has grown to accommodate a growing variety of needs. The SD4000 is on top of current training, offering a 3.8 x wide-angle zoom (despite its Point-and available below) and aperture priority mode. Also the SD4000 is the first of his family to be based on a backlit CMOS sensor that allows high speed modes and promises to improve performance in low light conditions.Style low-key of the SD4000 is belies the fact that it is indeed a very compact camera. In addition to the news on a backlit CMOS sensor, also has a lens that begins with a 28 mm equivalent, F2, 0-impressive, even if it ends in a F5 1.3 rather less worthy of note at the end of its 105 mm equivalent zoom range. We're curious to see the effect of using a CMOS sensor to hand back lit in the SD4000 is, because in our experience the promises made for low-light ability of these sensors (which collect light from what would be the back of a conventional CMOS design and then remove all supporting circuitry from the path of light), are not always evident compared to some of the most modern CCD designs.However, the SD4000 is capitalize read faster than CCDS, CMOS sensor, 720 p HD video offer, 3.7 fps full resolution continuous shooting, image resolution 8.4 fps reduced and even movies that are played 240 fps to 30 fps to give a slow motion effect. Being the top of the range compact style of Canon SD4000 is also has a selection of extra shooting mode as miniature and fisheye (fake tilt/shift) modes. 28-105 mm equivalent, F2.0-5.3 image stabilized lens10 million pixel 1/2.3 "sensor (0.28 cm?) 3.0-inch LCD screen (16: 9 aspect ratio, 230 k dots) 720 p 30 fps HD video capture3.7fps back-illuminated CMOS continuous shooting at full resolutionISO 125-3200 (6400 at reduced resolution) HDMI outputSensor • type 1/2.3"• 10 million effective pixelsImage sizes •: 3648 x 2736
• 3648 x 2048
• 2816 x 2112
• 2272 x 1704
• 1600 x 1200
• 640 x 480
• 320 x 240 Movie clips • 1280 x 720 at 30 fps, HD
• 640 x 480 @ 30 fps
• 320 x 240 @ 30 fps
• Super Slow Motion Movie-320 x 240 @ 240 fpsFile formats • still: JPEG (Exif v2.2)
• Movie: MOV [h.264 + Linear PCM (stereo)] Lens • 28-105 mm (35 mm equiv)
• f = 4.9-18.6 mm
• 3.8 x optical zoom
• F2.0-5.3
• Construction: 7 elements in 6 groups (1 aspherical lens UA duplex, 1 sided aspherical lens): TTL autofocus Focus •
• Face Detection/9 point AiAF
• 1 AF-point AF (fixed to Centre) single mode
• Continuous
• Servo AF/AEMetering • evaluative (linked to Face Detection AF frame)
• Center-Weighted Average
• Spot (Center), ISO sensitivity auto •
• ISO 125
• ISO 200
• ISO 400
• ISO 800
• ISO 1600
• ISO 3200Exposure compensation +/-2 EV in 1/3 stop incrementsShutter speed • car (1-1/2500 sec.)
• 15-1/2500 sec.Modes • Auto
• Program AE
• Shutter Priority AE
• ProgramScene • portrait mode
• Night Snapshot
• Children & Pets
• Indoor
• Smart shutter (smile, Wink self-timer, face self-timer)
• High-speed Burst (2 .5MP)
• Low light (2 .5MP)
• Highlight color
• Color Swap
• FishEye Effect
• Miniature Effect
• Beach
• Foliage
• Snow
• Fireworks
• Assistance stitch
• Balance • Auto MovieWhite (including Face Detection WB)
• Daylight
• Cloudy
• Tungsten
• Fluorescent
• Fluorescent H
• Flash
• CustomContinuous • approximately 3.7 shooting shots per second.
High-speed Burst (2 .5MP
• Approximately 8.4 hits per second.
Low light (2 .5MP)
• LV: approx. 6.0 shots/sec. [6] (until memory card becomes full) image parametersMy colors (My colors Off, vivid, neutral, sepia, black & white, positive Film, lighter skin tone, darker skin tone, Vivid blue, vivid green, vivid red, Custom Color) Flash auto, Flash on *, Flash Off, slow sync, red-eye reduction
• Sync speed: fastest speed 1/2000 sec.
• Face Detection FE compensation
• Flash Exposure lockLCD monitor • 3.0 inch TFT (PureColor II G)
• 230,000 pixels
• 100% coverage
• AdjustableConnectivity • hi-speed USB 2.0
• Mini HDMI connector
• AV out (PAL/NTSC switchable) StorageSD, MMC, MMCplus, SDHC, SDXC, HC MMCplusPowerRechargeable battery Li-ion NB-6 L
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).
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.Thursday, February 3, 2011
Compact ' Travel Zoom ' group test Review
The so-called ' Travel Zoom ' category was not really about-the first camera that could really claim the label was the Panasonic TZ1, published in 2006. The idea of a wide-angle zoom lens in a compact form factor really (as opposed to a ' bridge ' or DSLR) has obvious appeal of mass and as a result, all major camera manufacturers (and a couple of minor ones too) have been pulling out all the stops in an effort to meet this demand.
Therefore, this test group covers a lot more cameras over the last event of this kind, that we published a year ago. Since then, introduces new compact wide zoom lines, the likes of Casio and Nikon, and those established as Panasonic ZS/TZ series, have matured.
The appeal of the so-called ' travel zoom ' is obvious. If you've ever taken a DSLR via on holiday you know how much mass that occupies in your luggage. For a lot of people, even die-hard DSLR users, carrying a big camera around all day is just a pain. For most of us, the lower weight and versatility associated with a more compact that far exceeds punishment inevitable in terms of performance than an interchangeable lens camera of larger size. All cameras in this test roundup are small compared to a DSLR and although no one is exactly in the ultra-compact ' class ', almost all of them are pocketable, despite the huge packaging zoom ranges. Even the cheapest camera in this group covers, the Kodak EasyShare Z950, an impressive 10 x optical zoom range equivalent to 35-350 mm. zoom of this type are made possible because the sensors inside these cameras are very small compared to sensors inside DSLRs. Because the size of a lens is directly related to its required imaging circle smaller circle imaging (defined by the size of the sensor) the smaller the lens must be. Sensors on these cameras are almost all the same size, about 1/2.3, which is equivalent to the real dimensions of 6.1.6 mm-much smaller than any interchangeable lens camera.How has expanded the zoom of the travel marketplace, technology has advanced. One of the most obvious effects of increased competition in this sector is the increased sophistication of products, especially as regards the viewing angle are the lenses. Recital 35 mm used to be considered a ' standard ', many of the cameras that we're seeing here range from 24 mm over 200 mm, which in theory, makes them barely able, when dealing with intimate interiors and landscapes as distant telephoto shots. The Samsung HZ35W/WB650 covers the broadest range, from 24 mm to end wide 360 mm tele, but none of these cameras can be rightly criticised for packaging not slow enough for their asking price.Canon SX210 ISCasio EX-FH 100Fujfiilm FinePix F80EXRFujifilm FinePix JZ500Kodak EasyShare Z950Olympus Mju 9010 * Nikon Coolpix S8000Panasonic Lumix DMC-ZS 5 & 7 (TZ8 and TZ10 in Europe), Ricoh CX3Samsung HZ35W (WB650 in Europe) Sony Cyber-shot DSC-H 55Sony Cyber-shot DSC-HX 5* Note: Unlike its predecessor ?/stylus 9000, the ?-9010 is not available in the United States.
Of course, there's a lot more of these cameras to these ' bare bones ' of the specification, but this table is a good enough Guide to key features of all the models that we're testing here. As you can see, some specifications, particularly as regards the size of the sensor and ISO span, are more or less standard from model to model, but there are some distinctions.Battery life quoted in review is provided by the manufacturers, based on CIPA standardized tests. The figures, unless otherwise specified, are based on using the LCD screen.
Click the price to see the latest price from one of our resellers affiliates* Maximum ISO settings available only at reduced resolution
Canon EOS 550D (EOS Rebel T2i/Kiss X 4) Review
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Review based on a production Canon EOS 550D, firmware version 1.0.6The Canon EOS 550D is a difficult product to categorize. Ostensibly designed to appeal to first-time DSLR buyers and enthusiasts, it offers a lot more technology, and at a higher price, than we might expect for a camera aimed squarely at this sector. Although it might seem logical for the 550D to replace the EOS 500D, the older camera is set to continue in Canon's lineup, which leaves the 550D pinched between its entry-level (represented by the still-current EOS 1000D and the 500D) and nominally enthusiast (the EOS 50D) peers. Confusingly however, apart from build quality (which is all but identical to the EOS 500D), the 550D has more in common with the prosumer EOS 7D, and - perhaps even more confusingly - it out-specifies the EOS 50D in many areas.Central to the impressive specification of the EOS 550D is a high-spec movie mode which offers full HD capture at up to 30 fps, manual control over exposure, and the option to use an external stereo microphone. The new camera also inherits the EOS 7D's sophisticated metering system (which brings it a lot closer to similarly positioned Nikon SLRs).So why has Canon apparently risked cannibalizing 7D sales by releasing such a similarly-specced, lower-end model? Well, Canon might have invented the 'entry-level' DSLR way back in 2003 with the attractively priced (for the time) EOS 300D, but these days, this sector of the marketplace is pretty crowded. Far from enjoying a monopoly, Canon, like all manufacturers, faces a stiff battle to make its products stand out amongst their numerous peers. To this end, Canon has pulled out all the stops with the EOS 550D and produced the most highly-specced Rebel we've ever seen. Now that a production sample has arrived in dpreview's offices, we've had the chance to subject it to our full in-depth test procedure. Read on to find out how it performs. * The Canon EOS 1000D represents a sub-class of the Rebel series and hence should be considered a parallel series. 18 Megapixel APS-C CMOS sensorDIGIC 4 processor with ISO 100-6400 (Expansion to 12800)Continuous shooting at 3.7fpsFull HD movie recording with manual control and selectable frame rates7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dotsiFCL metering System with 63-zone Dual-layer Metering SensorQuick Control screen to change shooting settingsExposure compensation +/-5 stops (although viewfinder scale is still +/-2 stops)Select maximum value for Auto ISOExternal Microphone socketMovie crop functionEye-Fi connected functions compatibilityHigher resolution 18MP CMOS with gapless micro lensesISO 6400 no longer in 'expanded' range (12,800 max remains the same)Redesigned buttons and new movie/live view buttonCustomizable auto ISO rangesImproved 63 zone metering (iFCL)3:2 format screen with more pixelsImproved movie functionalitySlightly higher burst shooting rate (though buffer holds fewer shots)HDMI control (CEC)SDHX Compatible
63-point iFCL metering
The consumer EOS range gets a welcome metering boost with a new 63-zone dual layer iFCL metering sensor (first seen on the EOS 7D). The iFCL system uses focus, color and luminance information to determine consistently exposed shots. All focus points provide distance information to the metering system to determine proximity to the subject and allow the algorithm to weight the exposure accordingly.Typically, metering sensors are more sensitive to red subjects which can lead to overexposure. The EOS 550D combats this with the dual layer sensor, which has one layer sensitive to red and green light and one that is sensitive to blue and green light. The metering algorithm then compares the level of the two layers and adjusts the meter reading accordingly.Screen Color
There are several minor changes to the user interface. You can now preview the color schemes available for the Quick Control Screen.Copyright information
The new in-camera copyright information feature - another that's trickled down from the latest professional models - allows copyright data to be entered directly into the camera, appending that information to each image file in the Exif metadata.
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Review based on a production Canon EOS 550D, firmware version 1.0.6The Canon EOS 550D is a difficult product to categorize. Ostensibly designed to appeal to first-time DSLR buyers and enthusiasts, it offers a lot more technology, and at a higher price, than we might expect for a camera aimed squarely at this sector. Although it might seem logical for the 550D to replace the EOS 500D, the older camera is set to continue in Canon's lineup, which leaves the 550D pinched between its entry-level (represented by the still-current EOS 1000D and the 500D) and nominally enthusiast (the EOS 50D) peers. Confusingly however, apart from build quality (which is all but identical to the EOS 500D), the 550D has more in common with the prosumer EOS 7D, and - perhaps even more confusingly - it out-specifies the EOS 50D in many areas.Central to the impressive specification of the EOS 550D is a high-spec movie mode which offers full HD capture at up to 30 fps, manual control over exposure, and the option to use an external stereo microphone. The new camera also inherits the EOS 7D's sophisticated metering system (which brings it a lot closer to similarly positioned Nikon SLRs).So why has Canon apparently risked cannibalizing 7D sales by releasing such a similarly-specced, lower-end model? Well, Canon might have invented the 'entry-level' DSLR way back in 2003 with the attractively priced (for the time) EOS 300D, but these days, this sector of the marketplace is pretty crowded. Far from enjoying a monopoly, Canon, like all manufacturers, faces a stiff battle to make its products stand out amongst their numerous peers. To this end, Canon has pulled out all the stops with the EOS 550D and produced the most highly-specced Rebel we've ever seen. Now that a production sample has arrived in dpreview's offices, we've had the chance to subject it to our full in-depth test procedure. Read on to find out how it performs. * The Canon EOS 1000D represents a sub-class of the Rebel series and hence should be considered a parallel series. 18 Megapixel APS-C CMOS sensorDIGIC 4 processor with ISO 100-6400 (Expansion to 12800)Continuous shooting at 3.7fpsFull HD movie recording with manual control and selectable frame rates7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dotsiFCL metering System with 63-zone Dual-layer Metering SensorQuick Control screen to change shooting settingsExposure compensation +/-5 stops (although viewfinder scale is still +/-2 stops)Select maximum value for Auto ISOExternal Microphone socketMovie crop functionEye-Fi connected functions compatibilityHigher resolution 18MP CMOS with gapless micro lensesISO 6400 no longer in 'expanded' range (12,800 max remains the same)Redesigned buttons and new movie/live view buttonCustomizable auto ISO rangesImproved 63 zone metering (iFCL)3:2 format screen with more pixelsImproved movie functionalitySlightly higher burst shooting rate (though buffer holds fewer shots)HDMI control (CEC)SDHX Compatible
18.7 megapixel CMOS sensor
The 550D uses a new, 18.7 (total) megapixel sensor that's similar, but not exactly the same as the one featured in the 7D (according to our sources at Canon). As before the sensor uses high frequency vibrations to remove dust.
Gapless micro lenses
First touted by Canon on the 50D, the EOS 550D's sensor has what are effectively gapless micro lenses, which significantly increases the efficiency of each pixel.
63-point iFCL meteringThe consumer EOS range gets a welcome metering boost with a new 63-zone dual layer iFCL metering sensor (first seen on the EOS 7D). The iFCL system uses focus, color and luminance information to determine consistently exposed shots. All focus points provide distance information to the metering system to determine proximity to the subject and allow the algorithm to weight the exposure accordingly.Typically, metering sensors are more sensitive to red subjects which can lead to overexposure. The EOS 550D combats this with the dual layer sensor, which has one layer sensitive to red and green light and one that is sensitive to blue and green light. The metering algorithm then compares the level of the two layers and adjusts the meter reading accordingly.
Full HD movie mode
In keeping with the overall specification hike the EOS 550D gets full HD (1920 x 1080) movie capture at a range of frame rates (30, 25 and 20), bringing it in line with the EOS 7D. You also get full creative control (over apertures and shutter speeds), and you can set Highlight Tone Priority for movies independently of the setting used for stills. Another welcome addition is the inclusion of a stereo microphone jack.
Screen ColorThere are several minor changes to the user interface. You can now preview the color schemes available for the Quick Control Screen.Copyright information
The new in-camera copyright information feature - another that's trickled down from the latest professional models - allows copyright data to be entered directly into the camera, appending that information to each image file in the Exif metadata.
Button changes
The EOS 550D gains new button dedicated to Live View / movie mode; where it used to sit on the EOS 500D is now a new 'Q' button (for fast access to the Quick Control Screen). Most of the buttons have been redesigned, and they're generally larger and flatter.
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.
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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.
Samsung TL500 (EX1) Review
Revision based on a production Samsung EX1As DSLRs have become less expensive, the number of people who want to buy high-end compact cameras, manually controllable fell away-until the size of the camera are not a problem, the benefits of a larger sensor are hard to resist. However, because the size is a concern for some people, the sector did not die-off entirely and, in July 2008, Panasonic introduced the DMC-LX3, finally an alternative to well-respected Canon G-series Now Samsung Electronics specialist, another overwhelming desire to show their credentials photographic introduced the TL500 (EX1 outside North America), a very little thing that follows the recipe LX3 a fast, wide (though limited) zoom in a fairly compact metal body. The Samsung offers an impressive F1.8-2.4 zoom lens that covers a range from very short 24 mm equiv. 72 mm, making it more the LX3 end wide and a touch faster a fraction equivalent to other outside.Another standout feature of the TL500 is undoubtedly his rear-screen not only have a screen fully articulated, it also has an excellent VGA-equivalent OLED screen we've seen before on the NX10. In principle, OLED screens can be more efficient and provide more contrast of LCD panels, because they can selectively light only pixels that need to be enlightened. They promise even greater viewing angles.In many other aspects of the design of the TL500 closely mimics LX3 if adds a button to record video directly, although only offering rather dated VGA video recording. This restriction, from a 10MP, 1/1.7 CCD, "suggests strongly that the camera is based around the same high sensitivity sensor Sony as the Canon G11 and S90.In general, it is an impressive specification, a lot of desirable characteristics, such as raw capacity and easy manual control of packaging in its elegant form 24-72 mm equivalent, F1.8-2.4 lens10 stabilized million pixel 1/1.7 "front image sensor (0.43 cm?) click rear control dial and dialRAW shooting3.0 inch VGA-equivalent manual articulated screenAccessible OLED controlsOptical StabilizationSmart image modes with automatic scene output detectionVGA outputHD
It is clear from this image that Samsung is not as small as the Panasonic LX3 which clearly played heavily on the minds of its designers. Canon S90 is smaller still, however, the TL500/EX1 is not as big as Canon G11.
• 1/1.7 Sensor "type CCD• 10 million pixelsImage effective sizes • 3648 x 2736 (4: 3)
• 3648 x 2432 (3: 2)
• 3264 x 2448
• 3648 x 2048 (16: 9)
• 2736 x 2736 (1: 1)
• 2592 x 1944
• 2048 x 1536
• 1920 x 1080
• 1024 x 768 Movie clips • 640 x 480 @ 30 fps, 15
• 320 x 240 @ 30, 15fpsFile formats • still: JPEG (Exif v2.2), raw
• Movie: container: MP4 Video, h.264 Audio: AACLens • 24-72 mm (35 mm equiv)
• f = 5.2-6.1 mm
• 3 x optical zoom
• F1.8-2.4 4Focus • autofocus: TTL
-Centre
-Multi AF
-Selection
-Tracking
-Face Detection
-Smart Face Recognition
• Macro
• FocusMetering • Multi Manual
• Center-weighted
• SpotISO • Auto sensitivity
• ISO 80
• ISO 100
• ISO 200
• ISO 400
• ISO 800
• ISO 1600
• ISO 3200Exposure compensation +/-2 EV in 1/3 stop incrementsShutter speed • car (1-1/1500 sec)
• 16-1/1600 secModes • automatic
• Program AE
• Shutter Priority AE
• Aperture Priority AE
• Manual
• Beauty Shot Mode of scene
• Frame Guide
• Night portrait
• For children
• Landscape
• Close-up
• Text
• Sunset
• Dawn
• Backlight
• Fireworks
• Beach & snow
• Balance • Auto MovieWhite (including Face Detection WB)
• Daylight
• Cloudy
• Tungsten
• Fluorescent L
• Fluorescent H
• Flash
• Normal • CustomImage parameters
• Sketch
• Defog
• Soft
• Vivid
• Forest
• Retro
• Cool,
• Calm
• Classic
• Negative
• Flash • Custom RGB auto, Flash on, Flash Off, slow sync, red-eye reduction
• Level: 0.2 m-6.2 m, Tele: 0.5 m-5.1 m (ISO AUTO)
• Flash EVC +/-1 EV (increments of 1/2) Monitors • 3.0 inch multi-angle AMOLED
• 614000 dotsConnectivity • Hi-Speed USB 2.0
• Mini HDMI connector
• AV out (PAL/NTSC switchable) lithium ion battery SLB-11A PowerRechargeable
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).
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.Wednesday, February 2, 2011
Olympus PEN E-PL 1 Review
Analysis based on a production, PL-1, firmware v1.1
As half of the Consortium Micro Four Thirds, Olympus was one of the originators of the mirrorless interchangeable lens or camera. In just under two years, this new breed has established itself as a credible alternative to both compact cameras and DSLRs. However, while manufacturers regularly talk to us by watching and wanting to take advantage of the gap between these two types of fixed cameras, all templates released so far have tended towards the DSLR-end of that space. So far we have seen models Panasonic and Samsung have-aped the functionality, appearance handling and even entry-level DLSRs, while small, Rangefinder-styled MILCs (The E-P1 and GF1) still behaved like DSLRs without mirrors, instead of compact cameras with large sensors.
Strengthen to fill this void is the Olympus E-PL 1, a camera that brings a stripped-down body and simplified interface to the Micro Four Thirds format. This means that no control knobs (and therefore a lot of button-pressing farther from the automated exposure modes you adventure), but which also brings a results-oriented simple ' Live Help ' interface to allow you to take control of the i-Car for people happier to frame (sorry Mr Spacey).
Its simplified interface dictates press key based that will be most suited to compact camera users who want to get the best photos and learn about things like openings in their time. Advanced users who wish to regularly to take control of individual shooting parameters are likely to find themselves frustrated by the sheer amount of button-pressing induced by the loss of control dials.
Cost savings, which extend at a lower cost, plastic mount version of the collapsible lens kit 14-42 mm, mean that E-PL 1 arrives on the market with a suggested retail price some $ 200 (or € 150) below that of the E-P1. The body gets styling cues from the E-P1, mix with hints of fondly remembered ' C ' series of high-end compacts. Also the Unit SI has been simplified, with the company claiming only 3 stops of compensation, rather than the 4 ascribed to E-P 2.
However, it would be a mistake to assume from this that specifies E-PL 1 is trivial-even if the body, screen, lens and interface have been pared-back, there are a couple of areas where this model entry-level/beginners model trumps the finest pen and more expensive. Most obvious is the addition of a built-in flash, which was one of the most glaring omissions from the E-P1 and EP-2. There is also a revised version of the TruePix V image processor, which has been optimized to take account of the lightweight low-pass/anti-aliasing filter fitted in this model. L1 also offers the EVF/accessory port underneath the flash hot-shoe-a feature it shares with the E-P 2 and absent from the E-P1.
12 megapixel Four Thirds size sensorIn-body image stabilization (with claimed 3-stop efficiency) simplified ' Live Help ' interface2.7 "LCD display (230 k dots) embedded flashDirect record the movie HD video button720p (CDU) ISO 100-32006 ' Art Filter ' creative effectsAccessory brings for Add-ons such as the electronic viewfinderAlthough the EPL-1 is a camera less expensive than E-P 2 that sits above it, it gives a lot of land to his brother in terms of specifications. The main differences are the interface more compact-camera-like (and the knobs of the loss of control), the simplified construction, less sophisticated image stabilization system and the addition of built-in flash.
No control dials vs 2 on E-P 2Built-in flash (external flash only at E-P 2) mainly plastic body with the front of the aluminium skined (stainless steel and alloys for E-P 2) with image stabilization claimed 3 stop advantage vs 4 stops for movie recording button and-P 2Direct vs. film as position on E-P 2 dialMono mic mode with ability to add stereo using built-in stereo adapter vs micsMaximum shutter speed sec to 1/2000th, VS/4000th.
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).
and c. This article is Copyright 2010 dpreview.com and the review in part or in whole may not be reproduced in any electronic or printed publications without prior permission from the author. For information on reproduction of any part of this review (or any images) please contact: Phil askeyNikon By D3S Review
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Based on a production Nikon by D3S, firmware version 1.0, 1.0 (note: As we were finalizing this test for publication, Nikon released a firmware upgrade for the by D3S to Firmware 1.0.1, which corrects some minor bugs relating to video performance. We did not experience the issues which the update is designed to fix, and all samples (and the majority of gallery images) taken for this this review were created with firmware 1.0) When the Nikon D3 was launched in August 2007, it had an immediate impact on the DSLR market, and not only in the professional sector. The D3 was Nikon's first DSLR with an FX (full frame) CMOS sensor, but its major selling point, in the minds of many photographers at the time, was its unparalleled image quality at high ISO settings. With the D3, photographers could shoot at ISO settings up to 6400 without a significant penalty in noise, and in a pinch, even go up to ISO 25,600 (equivalent)-unheard of at the time. This versatility, coupled with a very capable AF system and rugged, weatherproof build, did much to reverse Nikon's James fortunes in the professional DSLR market. Professional Canon users, many of whom were disillusioned by the seemingly endless problems that plagued the flagship EOS 1 d Mark III at the time, flocked to the D3 in large numbers. In the process, Nikon mounted a formidable challenge to Canon in the sports and action segment of the pro marketplace.
A little over two years later, and Nikon is trying to build on the foundations laid by the D3 's runaway success. Enter the by D3S. Ergonomically, very little has changed. In fact the by D3S and its predecessor are difficult to tell apart at a casual glance, but the by D3S does offer some significant improvements, not least in new 720x1280p video capture mode, and several minor tweaks designed to make the new camera more competitive. These include a new ' Quiet ' shutter release mode (first seen in the D5000), in-camera dust reduction, and a choice of four image area formats, including DX, and a new 1.2 x crop option. The by D3S offers the same resolution as the D3 at 12 million pixels, but its redesigned sensor can hit new heights of ISO performance, offering a ' native ' range of ISO 200-12,800, expandable up to ISO 102,400. Is the promise of even better low light performance enough to answer those critics that are clamoring for higher resolution? Read our in-depth test (which includes comparisons with the new Canon EOS 1 d Mark IV) to find out.
Note: Because of the active drawing between the by D3S and the older D3, (and to a lesser extent the D300S and D3X), especially as regards handling and certain key features, portions of this review, including some product images, are taken or adapted from from previous reviews. Model Launch Continuous highest (JPEG) LCD Video monitor
Based on a production Nikon by D3S, firmware version 1.0, 1.0 (note: As we were finalizing this test for publication, Nikon released a firmware upgrade for the by D3S to Firmware 1.0.1, which corrects some minor bugs relating to video performance. We did not experience the issues which the update is designed to fix, and all samples (and the majority of gallery images) taken for this this review were created with firmware 1.0) When the Nikon D3 was launched in August 2007, it had an immediate impact on the DSLR market, and not only in the professional sector. The D3 was Nikon's first DSLR with an FX (full frame) CMOS sensor, but its major selling point, in the minds of many photographers at the time, was its unparalleled image quality at high ISO settings. With the D3, photographers could shoot at ISO settings up to 6400 without a significant penalty in noise, and in a pinch, even go up to ISO 25,600 (equivalent)-unheard of at the time. This versatility, coupled with a very capable AF system and rugged, weatherproof build, did much to reverse Nikon's James fortunes in the professional DSLR market. Professional Canon users, many of whom were disillusioned by the seemingly endless problems that plagued the flagship EOS 1 d Mark III at the time, flocked to the D3 in large numbers. In the process, Nikon mounted a formidable challenge to Canon in the sports and action segment of the pro marketplace.
A little over two years later, and Nikon is trying to build on the foundations laid by the D3 's runaway success. Enter the by D3S. Ergonomically, very little has changed. In fact the by D3S and its predecessor are difficult to tell apart at a casual glance, but the by D3S does offer some significant improvements, not least in new 720x1280p video capture mode, and several minor tweaks designed to make the new camera more competitive. These include a new ' Quiet ' shutter release mode (first seen in the D5000), in-camera dust reduction, and a choice of four image area formats, including DX, and a new 1.2 x crop option. The by D3S offers the same resolution as the D3 at 12 million pixels, but its redesigned sensor can hit new heights of ISO performance, offering a ' native ' range of ISO 200-12,800, expandable up to ISO 102,400. Is the promise of even better low light performance enough to answer those critics that are clamoring for higher resolution? Read our in-depth test (which includes comparisons with the new Canon EOS 1 d Mark IV) to find out.
Note: Because of the active drawing between the by D3S and the older D3, (and to a lesser extent the D300S and D3X), especially as regards handling and certain key features, portions of this review, including some product images, are taken or adapted from from previous reviews. Model Launch Continuous highest (JPEG) LCD Video monitor
Newly redesigned 12.1 megapixel Full-Frame (36 x 24 mm) sensorISO 200-12,800 (ISO 100-102,400 including extension settings) 720 p/24 fps HD movie modeEleven frames per second in continuous and DX modeLarger buffer for more than 30 RAW frames in one burst multi-cam module Auto Focus sensor (51-point, 15 cross-type, more vertical coverage), fine-tuned for improved acquisition and trackingIn camera RAW-processingAlso supports DX lenses, viewfinder automatically masks (5.1 megapixels with DX lens) 14-bit A/D conversion, 12 channel readout Nikon EXPEED image processor Super fast operation (power-up 12 ms, shutter lag 41 ms, black-out 74 ms) Kevlar/carbon fibre composite shutter with 300,000 exposure durability Auto-focus tracking by color (using information from 1005-pixel AE sensor) Auto-focus calibration (fine-tuning) available (fixed body or up to 20 separate lens settings) Scene Recognition System (uses AE sensor, AF sensor) Dual Compact Flash card slots (overflow, back-up, RAW on 1/JPEG on 2, Stills on 1/Movies on 2, copy) Compact Flash UDMA support3.0? 922,000 pixel LCD monitor, Live View with either phase detect (mirror up/down) or improved (30% faster) contrast detect Auto Focus Virtual horizon indicates if camera is level, available on the LCD during video captureHDMI HD video output ' Active D-Lighting ' ' Extra High ' setting (adjusts metering as well as applying D-Lighting curve) Detailed ' Control Panel ' type display on LCD monitor, changes in dark conditionsButtons sealed against moistureDual battery charger as standard* 1 Also 8 fps in cropped mode (6.7 MP)
* 2 Up to 11 fps with DX format (5.1 MP)
* 3 Up to 7 fps with DX format (10.5 MP)
Sony Alpha NEX-5 Review
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Review based on a production NEX-3 and NEX-5, updated to reflect firmware v3Ever since Panasonic and Olympus created their Micro Four Thirds mirrorless system, all the talk has been about what the other players in the market will do. Micro Four Thirds has been steadily building its market share, seemingly without response from the three companies that account for over 80% of DSLR sales (Canon, Nikon and Sony), to the extent that ' Micro ' risks becoming the generic term for these mirrorless systems (' When will Brand X make a Micro camera? ' has become a fairly common thread title on our forums).The waiting is now over as, following the showing of some mock-ups at PMA and a torrent of teasers and leaks, Sony finally officially announced its NEX system last month. The details are exactly what you'd expect-HD video capable APS-C sensors in small bodies. What might take you by surprise is just how small the bodies are the NEX-5 in particular being tiny. In fact the cameras are too small to include in-body image stabilization units, as found in Sony's Gerd, and instead use lens-based Optical SteadyShot '. These NEX cameras will come under the Alpha brand but do not make use of the Alpha lens mount, instead using the completely new all-electronic E-mount Sony has made clear that it is aiming for compact camera users who wish to upgrade (a market it estimates at around 10 million potential buyers), rather than trying to offer a second room for existing DSLR users. And the NEX models have more in common with compact cameras than DSLRs-including very few buttons and a resolutely unconventional interface.As part of this interface it offers not only the standard Sony option of showing a small description of each selected option, it also has a full user guide built in to the room. Relevant sections of this guide are available in each shooting mode to give hints and advice about everything from how to hold the room to how to achieve an out-of-focus background. The company told us that it felt its competitors had merely miniaturized, rather than produced, so it's no surprise that the NEXs are more than just the company's Gerd with the mirrors will be removed. Instead you get a wholly new system with metal-bodied kit lenses (something we didn't expect to see again in a mainstream product), and an accessory port instead of a conventional flash hot shoe.As with Samsung and Panasonic, Sony's background is electronics (rather than cameras) so the incentive to move away from the optically complex DSLR design to one based more around electronic displays makes sense. Sony's situation is a little different in that it bought the respected Minolta brand and know-how but, despite plenty of new models, it has only been able to make a big impression on the DSLR market in a few selected regions. Consequently, it's understandable that it might want to combine its DSLR knowledge with its electronics expertise to establish some compelling competitive advantage.
Sony proposed E-mount lenses: and c. This article is Copyright 2010 dpreview.com and the review in part or in whole may NOT be reproduced in any electronic or printed medium without prior permission from the author. For information on reproducing any part of this review (or any images) please contact: Phil Askey
Review based on a production NEX-3 and NEX-5, updated to reflect firmware v3Ever since Panasonic and Olympus created their Micro Four Thirds mirrorless system, all the talk has been about what the other players in the market will do. Micro Four Thirds has been steadily building its market share, seemingly without response from the three companies that account for over 80% of DSLR sales (Canon, Nikon and Sony), to the extent that ' Micro ' risks becoming the generic term for these mirrorless systems (' When will Brand X make a Micro camera? ' has become a fairly common thread title on our forums).The waiting is now over as, following the showing of some mock-ups at PMA and a torrent of teasers and leaks, Sony finally officially announced its NEX system last month. The details are exactly what you'd expect-HD video capable APS-C sensors in small bodies. What might take you by surprise is just how small the bodies are the NEX-5 in particular being tiny. In fact the cameras are too small to include in-body image stabilization units, as found in Sony's Gerd, and instead use lens-based Optical SteadyShot '. These NEX cameras will come under the Alpha brand but do not make use of the Alpha lens mount, instead using the completely new all-electronic E-mount Sony has made clear that it is aiming for compact camera users who wish to upgrade (a market it estimates at around 10 million potential buyers), rather than trying to offer a second room for existing DSLR users. And the NEX models have more in common with compact cameras than DSLRs-including very few buttons and a resolutely unconventional interface.As part of this interface it offers not only the standard Sony option of showing a small description of each selected option, it also has a full user guide built in to the room. Relevant sections of this guide are available in each shooting mode to give hints and advice about everything from how to hold the room to how to achieve an out-of-focus background. The company told us that it felt its competitors had merely miniaturized, rather than produced, so it's no surprise that the NEXs are more than just the company's Gerd with the mirrors will be removed. Instead you get a wholly new system with metal-bodied kit lenses (something we didn't expect to see again in a mainstream product), and an accessory port instead of a conventional flash hot shoe.As with Samsung and Panasonic, Sony's background is electronics (rather than cameras) so the incentive to move away from the optically complex DSLR design to one based more around electronic displays makes sense. Sony's situation is a little different in that it bought the respected Minolta brand and know-how but, despite plenty of new models, it has only been able to make a big impression on the DSLR market in a few selected regions. Consequently, it's understandable that it might want to combine its DSLR knowledge with its electronics expertise to establish some compelling competitive advantage.
NEX-5
NEX-3
Three E-mount lenses are being announced alongside the cameras-an 16 mm F2.8 pancake, a standard 18-55 mm F3.5-5.6 stabilized zoom and a stabilized kit 18-200 mm F3.5-6.3 superzoom. Although the company talks a great deal about shallow depth-of-field, none of the lenses initially offered will offer a great deal of control in that respect. Being based around an APS-C sensor as used in the majority of DSLRs, the NEX cameras are subject to the same 1.5 x crop factor ' as them, so a 16 mm lens will give the same field of view as a 24 mm lens would on a 35 mm film cameras.Three kits are available: the ' snap ' kits which include the 18-55 mm zoom, the ' go out with me ' kits that feature the 16 mm prime lens and the ' go out and snap ' kits that include both. And, while we think at 24 mm equivalent prime lens will make sense to somebody and are quite able to look beyond the entertainment potential of calling a product ' go out with me, ' we cannot make any sense of the decision to bundle such a potentially challenging lens with what we're told are point-and-shoot cameras. The majority of people walking into room shops will be very badly served if they leave with a camera and nothing but an ultrawide angle lens. And, still more disappointingly, despite its F2.8 maximum aperture, the 16 mm lens will not offer much scope for blurring backgrounds, so shouldn't be sold on that basis either.Sony is also taking the unusual step of offering adapter lenses for the 16 mm F2.8 pancake, which attach via a bayonet mount on the front. In a manner familiar from compact cameras, it will be possible to adapt the lens from its usual 24 mm equivalent field of view using either an ultra-wide adapter to take it to 20 mm equivalent, or a fisheye that gives to 16 mm equivalent view.An Alpha mount adapter will be available, giving the ability to use Sony and Minolta SLR lenses. The the-EA 1 adapter has a motor to control the lens aperture, but nothing to drive the autofocus though, following a firmware update, is able to autofocus 14 SSM-and SAM-designated lenses. This allows only single, not continuous, AF and, in common with most attempts to use contrast-detection AF with lenses designed for phase-detection, is a fairly slow process. It does allow the use of some Alpha-mount lenses until Sony can start to provide the impressive-sounding E-mount lens lineup it has set out.
Sony proposed E-mount lenses:• Wide fixed focal length CZ (2011)
• Telephoto zoom (2011)
• Macro (2011)
• Portrait (2011)
• High performance standard zoom G (2012)
• Wide zoom (2012)
• Mid-telephoto (2012)
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).
and c. This article is Copyright 2010 dpreview.com and the review in part or in whole may NOT be reproduced in any electronic or printed medium without prior permission from the author. For information on reproducing any part of this review (or any images) please contact: Phil AskeyNikon D3100 Review
An analysis based on a production Nikon D3100, Firmware 1.00 1.00 l, B 1002 Nikon has developed the habit of making very attractive entry-level DSLRs, they rarely are the best specified but cleverly designed so they are easy and pleasant to shoot with. The D3000 mounted this pattern perfectly sweet, an update of the D60 (which was itself a D40X slightly updated), it added usability features to make it a pleasant little camera to use, despite a specification that was starting to look pretty out-of-step with the rest of the market.The D3000 sold well, despite his age quite 10 Megapixels sensor and the lack of live view and video. However, there is only so long that intelligent product design and functionality integration can compensate for a specification that seems dated. So, with that in mind, Nikon has announced the D3100-probably the biggest upgrade of its offer entry-level because it really attacked the low-end market with the original D40.The D3100 is built around 14.2 megapixel CMOS sensor, bringing not only of live view, but also to capture Full HD video at entry-level Nikon for the first time. In fact, this is the first Nikon DSLR to offer movie recording of 1920 x 1080. You can only record clips up to about ten minutes long (due to a limitation of maximum file size of 4 Gb are shared by all DSLRs), but that still counts as an impressive feature in addition to this level.The body Gets a slight upgrade from a basic design that essentially goes back four years for the D40, gaining an extra button to the left of the screen, a mode switch to auto mode dial, a suspended lever to engage the live view and a direct film record button. Revisions were made also the characteristic-teaching, hand-holding ' driving Mode ' and an additional autofocus mode is designed to allow greater focus in live view and autofocus while shooting video.All this adds up to a DSLR camera that incorporates all the features of 2010 's "must have" but looks like the product of evolution, rather than dramatic innovation. And 2010 was the year during which the rest of the market has no foreseeable along those lines, not least during the expansion of large sensor, mirrorless interchangeable lens camera crowd.The creators of camera always try to emphasize that the mirrorless cameras are creating a completely new market, rather than competing with entry-level DSLR, but it's pretty obvious that many people planning to upgrade from their compact Point-and will consider both types of camera when taking their decision. So while the D3100 is unequivocally a DSLR (in a time where the line between mirrorless cameras and DSLRs is becoming increasingly hazy), its beginner mode-friendly guide puts it squarely in competition with many models which are equally eager mirrorless expansions frame your welcome. Many of these cameras, such as NEX-3 and 5, Olympus E-PL 1 and dei Famosi Panasonic, Sony offer interfaces accessible in the same way a smaller packages at competitive prices. Also, from conventional DSLR eshewing design, they are able to offer a shooting experience that is much closer to that of a compact camera-that even the best DSLR live view implementation cannot simulate easily at this time.So while the D3100 offers an enhanced feature set than a camera we liked, it remains to be seen whether these additions will be enough to make it stand out as well as his predecessor did 14.2 megapixel DX-format CMOS sensor3 3.0 "LCD monitor (230,000 pixels) image sensor cleaning (sensor shake) 11 AF points (3D-tracking) IS0 range 100-3200 (6400 expanded) HD movies (720 p or 1080p, WVGA)
The D3000 D3100 Update substantially, by taking a specific Look rather obsolete-and turn it into one of the most competitive in its sector.
Higher resolution sensor (14 .2MP vs 10MP) ability to shoot Raw + fine JPEGSocket for unitOptional for Nikon GP1 GPS GPS wired remote socketNo optionLive moviesHDMI view1080p HD wireless remote outputWider ISO rangeFull-AF mode (AF-F in live view) Revised fire screen now (different AF point illumination)As you can see from the table below specifies the D3100 not only exceeds that of its predecessor, but also in some respects that of his brother larger more expensive.
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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