Saturday, February 19, 2011
Pentax releases service notice for DSLR K-5
Phase one Announces IQ series digital backs
Press release:
Designed for maximum creative freedom
Copenhagen, January 24, 2011 — Phase One, a supplier of equipment pro photography world leader, today announced a bold new generation of medium format digital camera backs. Phase one IQ180, IQ160 and IQ140 digital camera supports the feature maximum resolutions of 80, 60 and 40 high quality Megapixels respectively. This series sets new standards for performance and management of medium format camera system.
Phase one IQ180 captures full-frame 80 megapixels resolution, with a dynamic range of 12.5 f-stop. Is the first product of its kind to feature a connection AFG3252, facilitating the transfer of images faster in the future. The IQ180 also offers a FireWire 800 connection, ensuring the speed of the fastest possible acquisition related today. For shooting untethered, new interface memory card digital back IQ180 is so fast that eliminates buffering delays, support continuous shooting until the card is filled.
"I'm amazed by the quality of the image, I got it out of the box ' with the IQ180 of a phase phase one 645DF camera. You can create images with more detail and see unique compared with any other camera out there. Helps me to develop unique styles to me, "said Jens Honore photographer lifestyle. (Web: http://www.jenshonore.com/)
Type a retina designed just 3.2 inch multi touch Features, 1.15 megapixel resolution, providing the highest resolution and largest exhibition of any SLR type cameras available today. This means that very fine details can be checked immediately during a photo shoot--for example, using unique Focus form of phase one and instant zoom feature. Automatic adjustment of brightness and contrast ensures that the display is visible in various lighting conditions.
Context sensitive controls, such as instant zoom enables a photographer to magnify an image by using only one finger. Small histograms and highlight warnings can be enlarged to full screen view with a simple touch. The new form of fire available during preview allows you to validate the depth of field and focus the image. View the wide format allows for a full image 4: 3 aspect ratio at VGA resolution next to the histogram, highlight warning, form of fire, EXIF data and touch controls. This touch screen display is complemented by intuitive navigation of 4 buttons of phase one.
"The new high resolution multi touch screen with its intuitive controls is a perfect tool for quality control of image right at the time of acquisition. With this display quality, can I leave my laptop at home and, ultimately, this makes it easier, my job, "said architectural photographer, Eugeni Pons. (Web: http://www.eugeni-pons.com/)Phase one sensor + technology patent, incorporated in phase one IQ180, supports a wide variety of shooting conditions. One can capture images with megapixel resolution, a full 80 or using sensor + mode, switch instantly to capture images with a resolution of 8 megapixels to four times higher sensitivity up to ISO 3200. This flexibility is very useful in low light conditions; There is no need to slow down to change the cameras, and there is no clipping or lens. One gets the maximum wide-angle lens performance, higher levels of ISO and a faster workflow.
According to the fashion photographer Stefan Kapfer from Trostberg, "the new IQ180 meets my work very well. Can I use the full 80 megapixel resolution for my shots of high-end fashion, and 8 megapixel image sensor technology that get by + give me a workflow faster when production catalogue. It's really two perfect solutions in a single system. " (Web: http://www.stefankapfer.de/)
Compatibility is improved IQ among digital backs and camera body phase one 645DF. Now, the power state of the digital back can be controlled directly from the 645DF camera. An integrated battery charger ensures that the battery is charged while one is shooting tethered, offering more shooting versatility.
Capture one 6
Capture one 6 Backup has been optimized for shooting with a digital phase IQ. Together with the IQ series backs this professional RAW converter and image editing software will deliver the highest image quality in the world with excellent color and detail. The software includes all the tools you need to capture, organize, edit, share and print images for an efficient workflow.
Reliability and service
Professional photographers have the IQ of a phase digital backs to get their jobs. Their highly durable build quality has been designed and tested to work in the toughest environments, including humidity, extreme heat and cold.
All Phase One products are worth long-term investment with superior service. For professionals, this protection is invaluable, especially when shooting in familiar situations and locations worldwide.
Various service levels are available for phase one digital backs IQ. For example, an option of added value includes a lifetime warranty-time (5 years), a unit on loan free of charge during the repair and other options. Phase one provides support 24 hours 365 days delivered online and supported by dedicated partners and a global support team.
For a complete list of all the new phase one digital Back features IQ, including camera bodies are supported, see www.phaseone.com/iq
The availability and prices
Phase one IQ180 should be available end of April 2011. Phase one IQ160 and IQ140 are expected to be available end of May 2011. The products can be ordered now through a phase of photography professional partners worldwide: www.phaseone.com/partners
Prices for digital backs new start 21990 6,532 EUR/USD. Interesting upgrade offers are available for all photographers to step one.
Friday, February 18, 2011
Phase one releases Capture One 6.1
FUJIFILM FinePix X 100 first look preview
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.
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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.
Panasonic Lumix DMC-GH 2 Preview
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Preview based on a pre-production GH2 When Panasonic first launched the GH1, its second Micro Four Thirds camera, it was widely seen as simply being a G1 with video shooting and a considerably more expensive kit lens. And, if your primary concern was stills photography then this wasn't an entirely unreasonable assessment. However, its real appeal was not that it had video, but that it offered what was, at the time, some of the most flexible, high quality video available. Again, the 14-140mm F4.0-5.8 kit zoom may not have been cheap but it had been specifically designed and built with fast, quiet autofocus and stepless aperture control to allow AF during movie shooting and exposure changes without sudden changes in brightness.
The G2 alongside one of its current nearest competitors - the Canon EOS 60D. The considerably smaller size and bulk of the GH2 is obvious in this view - one of the advantages of a mirrorless design. The GH2 might look very similar to a casual glance but there are some major differences between the two models. Let's have a look at the main changes:New sensor - multi-aspect Live MOS with 18.3 million total pixelsISO range 160 - 12800 (vs 100-3200)Sensor capable of 1080p at 60 or 50 fps (rather than 24 or 25 fps), still output as 60i/50iFaster sensor read-out promises faster AF and smoother viewfinder image (less tearing)Larger EVF coverage to match multi-aspect shooting (852 x 600 rather than 800 x 600 pixels)Touch-sensitive LCD screen (same as G2)New, more modern looking menu screensG2-style combined AF mode/pattern control on top plateDirect movie shooting button moved to top plate from rear of cameraControl dial moved from front of handgrip to rear of cameraDedicated metering and 'film mode' buttons replaced by highly customizable Fn buttonsQ menu button moved from top plate to rear of cameraNew battery (DMW-BLC12E) with fractionally smaller capacity (1200mAh vs 1250mAh)Slightly heavier (394g compared to 385g body only)Like the GH1, the GH2 is distinguished from its G-series contemporaries by its video shooting capabilities. The GH2 is a far more serious video shooting tool than the G2, and indeed the majority of its competitors - both mirrorless and DSLR. The GH2 offers a similar video specification to the GH1 but with one important difference - the sensor no longer doubles-up its sensor output in order to create its highest-speed video (the GH1 sensor could capture at 24 or 25 fps, which was then put out as 60i or 50i footage). Instead, the latest sensor can capture progressive (whole frames) at 60 or 50 fps. Its output is still limited to 60i or 50i because there are no common ways to distribute 60p or 50p footage, but this should certainly improve the output quality. The GH2 also has the ability to save footage at a different frame rate from the one captured - allowing slow-motion or high-speed effects.From a still photography point of view the GH2 brings very little that is 'new' to the G-series apart from its increased resolution - up to 16 from 12.1MP. This makes the GH2 the highest resolution camera in Panasonic's Micro Four Thirds range, and a maximum ISO of 12,800 makes it (at least on paper) the most versatile too. Like the G2, the GH2's LCD screen is touch-sensitive, but also like the G2, it is not 'mandatory'. In other words, GH1 users upgrading to the GH2 with no interest in experimenting with the touch technology can more or less ignore it if they wish.
From the front, the main difference between the GH2 and G2 is that the former is slightly taller, and more of a 'classic' SLR shape. The G2 is a noticeably squatter when viewed in direct comparison, but the family resemblance is unmistakable.
From the top, the GH2 is very similar to the G2. The most obvious difference is the stereo microphone which dominates the top of the flash housing of the GH2 (the G2 makes do with a single, tiny mic aperture just forward of the AF mode switch). Both cameras have a button for direct movie shooting, but whereas the G2 has a dedicated iA mode button, in its place the GH2 has a customizable 'Fn' button.Sensor• 4/3 type MOS ('Live MOS sensor')
• 18.3 million total pixels
• 16.0 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 14.0 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 13.1 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter arrayMovie mode• AVCHD :
1920 x 1080p 24fps (Approx 23 or 17 Mbps)
1920 x 1080i 60fps (Approx 17 or 13 Mbps)
1280 x 720p 60fps (Approx 17 or 13 Mbps)
• Motion JPEG:
1280 x 720, 30fps
848 x 480, 30fps
640 x 480, 30fps
320 x 240, 30fps • AVCHD :
1920 x 1080, 24fps (24 fps encapsulated in a 60i format)
1280 x 720 (60 fps)
1280 x 720, 60p (from 30fps sensor output)
1280 x 720, 50p (from 25 fps sensor output)
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverage
• 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverage• Touch sensitive 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverageMicrophone• Built-in stereo
• Socket for external mic• Built-in stereo
• Socket for external mic• Built-in monoaural
• Socket for external micDimensions142 x 90 x 76 mm
(4.9 x 3.5 x 3 in) 142 x 90 x 76 mm
(4.9 x 3.5 x 3 in) 124 x 84 x 74 mm (4.88 x 3.29 x 2.91 in )Weight (body only, no card/battery)This article is Copyright 2010 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.
server temporarily unavailable
Preview based on a pre-production GH2 When Panasonic first launched the GH1, its second Micro Four Thirds camera, it was widely seen as simply being a G1 with video shooting and a considerably more expensive kit lens. And, if your primary concern was stills photography then this wasn't an entirely unreasonable assessment. However, its real appeal was not that it had video, but that it offered what was, at the time, some of the most flexible, high quality video available. Again, the 14-140mm F4.0-5.8 kit zoom may not have been cheap but it had been specifically designed and built with fast, quiet autofocus and stepless aperture control to allow AF during movie shooting and exposure changes without sudden changes in brightness.
Now that the G2 (along with the majority of contemporary cameras) is able to capture HD video, the distinctions between just being able to shoot HD and to really control it become more apparent. Stills shooters may get some advantage from the new, higher resolution sensor but the main differences between the GH2 and G2 are the ability to control the movie shooting process (both in terms of frame rate and shutter speed).
In the twenty five months since Olympus and Panasonic jointly announced the Micro Four Thirds standard there have been eight models launched to date, seven of which share the same 12MP sensor. The only exception was the GH1 which, despite its 12MP output actually featured a 14MP sensor. The sensor was slightly larger than the format's imaging circle, which allowed it to deliver images in different aspect ratios while retaining the same image diagonal. And now the GH2 follows the same pattern, shooting 16MP images using its brand-new, similarly over-sized 18MP sensor.This sensor is capable of much greater output speed than its predecessor, bringing a host of benefits. Videographers will see an improvement in the quality of the highest quality output - the 1080i output is derived from 60p or 50p capture, rather than doubled-up from 24p or 25p on the GH1. However, the faster readout also means the AF system can more frequently check the accuracy of its focus, meaning faster autofocus (on lenses that can respond quickly enough). Finally, the faster readout means the live view is updated 60 times a second (rather than 24fps displayed at 60hz), giving a smoother viewing experience with less tearing.The viewfinder has also been slightly widened - it now shows 852 x 600 pixels (rather than 800 across) to allow it to show 16:9 and 3:2 previews without the need for such extensive cropping as before.The G2 alongside one of its current nearest competitors - the Canon EOS 60D. The considerably smaller size and bulk of the GH2 is obvious in this view - one of the advantages of a mirrorless design. The GH2 might look very similar to a casual glance but there are some major differences between the two models. Let's have a look at the main changes:New sensor - multi-aspect Live MOS with 18.3 million total pixelsISO range 160 - 12800 (vs 100-3200)Sensor capable of 1080p at 60 or 50 fps (rather than 24 or 25 fps), still output as 60i/50iFaster sensor read-out promises faster AF and smoother viewfinder image (less tearing)Larger EVF coverage to match multi-aspect shooting (852 x 600 rather than 800 x 600 pixels)Touch-sensitive LCD screen (same as G2)New, more modern looking menu screensG2-style combined AF mode/pattern control on top plateDirect movie shooting button moved to top plate from rear of cameraControl dial moved from front of handgrip to rear of cameraDedicated metering and 'film mode' buttons replaced by highly customizable Fn buttonsQ menu button moved from top plate to rear of cameraNew battery (DMW-BLC12E) with fractionally smaller capacity (1200mAh vs 1250mAh)Slightly heavier (394g compared to 385g body only)Like the GH1, the GH2 is distinguished from its G-series contemporaries by its video shooting capabilities. The GH2 is a far more serious video shooting tool than the G2, and indeed the majority of its competitors - both mirrorless and DSLR. The GH2 offers a similar video specification to the GH1 but with one important difference - the sensor no longer doubles-up its sensor output in order to create its highest-speed video (the GH1 sensor could capture at 24 or 25 fps, which was then put out as 60i or 50i footage). Instead, the latest sensor can capture progressive (whole frames) at 60 or 50 fps. Its output is still limited to 60i or 50i because there are no common ways to distribute 60p or 50p footage, but this should certainly improve the output quality. The GH2 also has the ability to save footage at a different frame rate from the one captured - allowing slow-motion or high-speed effects.From a still photography point of view the GH2 brings very little that is 'new' to the G-series apart from its increased resolution - up to 16 from 12.1MP. This makes the GH2 the highest resolution camera in Panasonic's Micro Four Thirds range, and a maximum ISO of 12,800 makes it (at least on paper) the most versatile too. Like the G2, the GH2's LCD screen is touch-sensitive, but also like the G2, it is not 'mandatory'. In other words, GH1 users upgrading to the GH2 with no interest in experimenting with the touch technology can more or less ignore it if they wish.From the front, the main difference between the GH2 and G2 is that the former is slightly taller, and more of a 'classic' SLR shape. The G2 is a noticeably squatter when viewed in direct comparison, but the family resemblance is unmistakable. From the top, the GH2 is very similar to the G2. The most obvious difference is the stereo microphone which dominates the top of the flash housing of the GH2 (the G2 makes do with a single, tiny mic aperture just forward of the AF mode switch). Both cameras have a button for direct movie shooting, but whereas the G2 has a dedicated iA mode button, in its place the GH2 has a customizable 'Fn' button.Sensor• 4/3 type MOS ('Live MOS sensor')• 18.3 million total pixels
• 16.0 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 14.0 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter array• 4/3 type MOS ('Live MOS sensor')
• 13.1 million total pixels
• 12.1 million effective pixels
• RGB (Primary) color filter arrayMovie mode• AVCHD :
1920 x 1080p 24fps (Approx 23 or 17 Mbps)
1920 x 1080i 60fps (Approx 17 or 13 Mbps)
1280 x 720p 60fps (Approx 17 or 13 Mbps)
• Motion JPEG:
1280 x 720, 30fps
848 x 480, 30fps
640 x 480, 30fps
320 x 240, 30fps • AVCHD :
1920 x 1080, 24fps (24 fps encapsulated in a 60i format)
1280 x 720 (60 fps)
• Motion JPEG:
1280 x 720, 30fps
848 x 480, 30fps
640 x 480, 30fps
320 x 240, 30fps
1280 x 720, 60p (from 30fps sensor output)
1280 x 720, 50p (from 25 fps sensor output)
• Motion JPEG:
1280 x 720 (30fps)
848 x 480 (30fps)
640 x 480 (30fps)
320 x 240 (30fps)
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverage
• 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverage• Touch sensitive 3.0" TFT LCD monitor
• Multi-angle swing and tilt (180? swing, 270? swivel)
• 460,000 dots
• Approx 100% frame coverageMicrophone• Built-in stereo
• Socket for external mic• Built-in stereo
• Socket for external mic• Built-in monoaural
• Socket for external micDimensions142 x 90 x 76 mm
(4.9 x 3.5 x 3 in) 142 x 90 x 76 mm
(4.9 x 3.5 x 3 in) 124 x 84 x 74 mm (4.88 x 3.29 x 2.91 in )Weight (body only, no card/battery)
If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).
This article is Copyright 2010 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.Olympus PEN E-PL 2 Preview
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Preview based on a production E-PL2, firmware 1.0
As you can see, the revised 14-42mm MSC lens grows significantly when extended for use, but its overall dimensions are virtually identical at its widest and longest focal lengths (it gets shorter in between). When retracted for carrying it's about 2" / 50mm long, making it a bit larger than its predecessor.12 megapixel Four Thirds sized sensorIn-body image stabilization'Live Guide II' interface works in still and movie capture modes3" LCD screen (460,000 dots)Built-in flashEye-detection AFDirect record movie button720p 30fps HD video (AVI Motion JPEG format)ISO 200-6400Accessory port for add-ons such as electronic viewfinder and new 'PENpal' bluetooth transmitter
The E-PL2's design is consistent with the 'classic' looks of the original E-P1 and the newer E-P2 (seen here), but the sloping top plate and remodeled hand grip make it (in our opinion) a better looking camera. 
The back of the E-PL2 is very similar to the E-P2 - gone is the dial-less interface of the E-PL1, but the E-PL2 lacks the uppermost dial of the E-P2, making do with just one, around the four-way controller to the right of the LCD screen. The E-PL2's anti-reflective screen covering is larger than the E-P2 but the 'active' screen area itself is the same size. This article is Copyright 2010 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.
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Preview based on a production E-PL2, firmware 1.0
The Micro Four Thirds system turned two years old last October, and a lot has happened since Panasonic debuted the DSLR-inspired, but mirrorless Lumix DMC-G1. What was then a brand new system has had time to mature, and mirrorless interchangeable lens cameras (ILCs) now make up one of the fastest-growing and competitive segments of the consumer digital camera market.
Although the Micro Four Thirds system got in first, Panasonic and Olympus haven't had everything their own way. After a decent head start, Panasonic's G-system and the Olympus PEN-series have been joined by Samsung's small-but-growing NX range, and Sony's innovative NEX-3 and NEX-5. All this competition has resulted in a rash of new releases from both 'original' mirrorless ILC manufacturers in recent months, as Panasonic and Olympus attempt to consolidate their early lead and grab as much market share as possible.
Part of that strategy is to aim lower, at novice rather than solely enthusiast consumers. The Olympus E-PL1, released in February 2009, was designed to appeal to precisely this market, filling the gap between high-end compact cameras and enthusiast-oriented, mostly DSLR-inspired, ILCs. The E-PL1 dispensed with the control dials of the E-P1 and E-P2, but retained the same sensor (albeit with a lighter AA filter), in a smaller, considerably more compact-like body. It also boasted - gasp! - a built-in flash; something which Olympus opted to dispense with in both the E-P1 and E-P2.
The E-PL2 has the same sensor as the E-PL1 and doesn't officially replace it, but sits above it in the product line, beneath the E-P2. As well as a physical makeover (the E-PL2 reminds us slightly of the rather beautiful Stylus Verve) its ergonomics have been refreshed too. The all-button operation of the E-PL1 has been ditched, in favor of a more conventional combination button/dial approach, with a rear plate that's much closer in design to the E-P2 than the E-PL1. The LCD screen is better too - its size has increased to 3 inches and it doubles in resolution, topping out at 460K dots. Indeed with its 3:2 aspect ratio and deep blue anti-reflective coating, it bears a startling resemblance to the unit used on Panasonic's DMC-GF2, although without that model's touch-sensitivity.
There are a couple of specification and firmware tweaks, too. The available ISO range now covers 200-6400, with the low-noise but limited-dynamic range ISO 100 option dropped. There's also an intriguing extension of the familiar face-detection AF mode, in the shape of 'iDetect' that aims to focus specifically on your subject's eyes. Some of the Art Filters gain a number of variations, plus the ability to add a stylized border.
The E-PL2 also comes with a new kit lens, that made its debut alongside the Japan-only E-PL1s late last year. The collapsible M.Zuiko Digital ED 14-42mm f/3.5-5.6 II MSC is 25% lighter than the previous generation, but boasts three aspherical elements rather than two. Its mechanism has also been modified, with one extending barrel section rather than two, making for a more solid construction than its notoriously-wobbly predecessor. It also gains a bayonet fitting at the front which can accept not only a lens hood, but also a new series of add-on lens converters - fish-eye, wideangle and macro.
Perhaps most significantly, though, the lens now gains the 'Movie and Still Compatible' (MSC) designation, signifying a much faster and quieter internal-focus design. According to Olympus, this makes the AF speed of the E-PL2 and 14-42mm II combination on a par with the best cameras in its class. However it does come at a slight cost to the lens's macro capability, with a maximum magnification of 0.19x rather than 0.24x.
A full test of the E-PL2's AF capabilities will follow in our forthcoming review, but Olympus's claim that the E-PL2 with the new kit lens offers faster AF than the previous generation E-PL1 with the original 14-42mm is born out in our initial testing. Although from our measurements the speed difference is not enormous, we have found that on the E-PL2, the new 14-42mm II can reliably achieve focus in slightly less time than the older lens. The speed increase is small - typically in the region of 0.1s - but enough to make it feel more positive. This is especially true when refocussing across a small distance range, at which point the E-PL2 with 14-42mm II feels pretty close to instantaneous.
It is worth noting that E-PL1 users will see a significant leap in AF performance from the new 14-42mm II. With the new lens mounted, we found that AF aquisition is typically around 0.2secs faster than when using the original kit zoom. This amounts to an increase in AF speed of almost 30% in some circumstances - a substantial boost. Back to the E-PL2 though, and the impression of better AF speed is aided by the silent focussing of the 14-42mm II. Not only does this make the lens feel swifter in use, but crucially it also means that movie footage from the E-PL2 is not marred by the sound of the lens' AF motor racking back and forth.
As you can see, the revised 14-42mm MSC lens grows significantly when extended for use, but its overall dimensions are virtually identical at its widest and longest focal lengths (it gets shorter in between). When retracted for carrying it's about 2" / 50mm long, making it a bit larger than its predecessor.12 megapixel Four Thirds sized sensorIn-body image stabilization'Live Guide II' interface works in still and movie capture modes3" LCD screen (460,000 dots)Built-in flashEye-detection AFDirect record movie button720p 30fps HD video (AVI Motion JPEG format)ISO 200-6400Accessory port for add-ons such as electronic viewfinder and new 'PENpal' bluetooth transmitterAlthough the E-PL2 is a less expensive camera than the E-P2 that sits above it, it gives very little ground to its big brother in terms of specification, and is better specified than the E-PL1. The biggest differences between the E-PL2 and E-P2 are in fact cosmetic and ergonomic: the E-PL2's more compact-camera-like interface, the simplified construction and of course the slightly more compact, more 'styled' body shell.
One control dial (vs. 2 on the E-P2)Built-in flash (external flashes only on E-P2)Compatible with Penpal PP-1 bluetooth accessory (the E-P2 is incompatible).Direct record movie button vs. movies as position on E-P2 mode dialMono mic with option to add stereo using adapter vs. built-in stereo micsNo orientation sensor on E-PL2The E-PL2's design is consistent with the 'classic' looks of the original E-P1 and the newer E-P2 (seen here), but the sloping top plate and remodeled hand grip make it (in our opinion) a better looking camera. The back of the E-PL2 is very similar to the E-P2 - gone is the dial-less interface of the E-PL1, but the E-PL2 lacks the uppermost dial of the E-P2, making do with just one, around the four-way controller to the right of the LCD screen. The E-PL2's anti-reflective screen covering is larger than the E-P2 but the 'active' screen area itself is the same size. The omission of the uppermost control dial and the addition of a direct video recording button, plus (of course) the flash release catch are the only differences between the two cameras in terms of physical control points, but although we're looking at the same number of buttons in more or less the same place, their functions have been shuffled around a bit. Perhaps most significantly, the E-PL2 sports a magnification button (for both image review and manual focus) in place of the E-P2's dedicated AEL/AFL button.
If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).
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