The ultra-compact STYLUS-7030 is ready to go. With a 7x optical zoom and a ton of easy-to-use features, it puts creativity and control right where you need it. Right in your hands. Its Creative Art Filters let you explore your artistic side, while Dual Image Stabilization ensures sharp pictures.
The Stylus-7030 unlike its HD-capable Stylus 7040 and 5010 siblings, the Olympus 7030 captures movies at 640x480 or 320x240 pixels at 30 or 15 frames per second using Motion JPEG format in an AVI container. For viewing images on a television, the Olympus Stylus 7030 has NTSC / PAL video output connectivity, while images and videos can be transferred to a PC over a USB 2.0 High-Speed connection. The 7030 includes what the company calls Magic Filters, similar to the in-camera Art Filters first introduced in Olympus digital SLRs in 2009. These new Magic Filters include "Pop Art", "Pin Hole", "Fish-Eye" and "Drawing" filters, and their presence is enabled by the camera's TruePic III image processor. The Stylus 7030 also features a new graphical user interface (GUI), and comes bundled with new Olympus [ib] software which includes Geotagging and Face Recognition functionality.
The Olympus 7030 employs a contrast-detection autofocus system operating off data streaming from the camera's image sensor, and interestingly the Stylus 7030's face detection function is linked not only to the autoexposure and autofocus systems, but is also used to assist the camera's Shadow Adjustment Technology function. We've seen Olympus Shadow Adjustment function on the company's digital SLRs in the past, and here it helps ensuring that your subjects' faces are captured with appropriate brightness without blowing out the background in backlit scenes. New AF tracking technology continually adjusts focus and exposure to keep fast-moving subjects in focus. There's even "Pet Mode" AF tracking for animal lovers.
Wednesday, January 19, 2011
Olympus E-5 Digital SLR Camera
The Olympus E-5 has a large pentaprism like most of the other pro and semi-pro digital SLRs, but part of that size is due to the pop-up flash. The large pentaprism inside is big and bright, looking similar if not identical to that on the E-3, sporting a magnification of 1.15x.
The Olympus E-3's viewfinder has eleven autofocus points, which appear as black squares until they are illuminated with bright red LEDs. The green status display runs along the bottom. It's still a little tight to see all of the frame plus the status display with my glasses on, but there's a nice big rubber eyepiece protector to prevent my glasses from scratching.
Just beneath the E-5 logo on the front is the camera's unique Auto White Balance detector.
The grip on the Olympus E-5 is pretty much the same as the E-3: very comfortable, with a nice indentation for the middle finger, and a good counter-grip on the back. Its tacky rubber surface really helps the hold; it may be the best grip surface I've felt on a digital SLR camera.
The Olympus E-5's shutter button is in just the right position when I grip the camera, with a nice finger well to guide me to the button. Though the button itself doesn't have a firm break between half-press and full, it still responds just right to increased pressure, firing just right.
There's no Mode Dial on the Olympus E-5; instead you press a button on the top deck, left of the pentaprism, and turn the Rear Main dial, while changes appear on the both the top and rear Status displays. Turning the Front or Sub dial changes the Drive mode. Autofocus and Metering also split one button between both dials, while White balance, EV, and ISO are adjusted with either dial.
The rear is where the primary physical differences lie between the E-3 and Olympus E-5. Most of the changes come due to the LCD's size increase from 2.5-inch to 3-inch, while retaining the swivel hardware. Text on the new 920K LCD is razor sharp, which makes composing images and focusing when in Live View mode a pleasure too.
Three of the buttons that used to run along the bottom of the LCD on the E-3 are now above the LCD. The Delete button moved to just beneath the Four-way navigator. The navigator and power switch have also been shoved over, and the card door release lever was omitted, and the more common sliding door lock was put in its place. Despite the changes, though, my thumb and the heel of my hand still fit comfortably on the back of the Olympus E-3 without pressing any of the buttons unintentionally. The SSWF (super sonic wave filter) lamp is gone, as is the IS button.
In the upper right corner, the AF-point selection button is now also the Movie start/stop button when in Live View mode.
A new light sensor appears between the optical viewfinder and the LCD, dimming the LCD when you bring your eye to the viewfinder. A similar sensor was positioned in the upper left corner of the LCD on the E-3, but here it serves a dual purpose.
The E-5's four-way navigator, which Olympus calls an Arrow pad, is well-positioned for easy access. Other buttons on the back and top are clearly marked for easy comprehension. The Olympus E-5's rear LCD also serves as a Status display whose settings are accessible via a press of the center OK button.
The Olympus E-3's viewfinder has eleven autofocus points, which appear as black squares until they are illuminated with bright red LEDs. The green status display runs along the bottom. It's still a little tight to see all of the frame plus the status display with my glasses on, but there's a nice big rubber eyepiece protector to prevent my glasses from scratching.
Just beneath the E-5 logo on the front is the camera's unique Auto White Balance detector.
The grip on the Olympus E-5 is pretty much the same as the E-3: very comfortable, with a nice indentation for the middle finger, and a good counter-grip on the back. Its tacky rubber surface really helps the hold; it may be the best grip surface I've felt on a digital SLR camera.
The Olympus E-5's shutter button is in just the right position when I grip the camera, with a nice finger well to guide me to the button. Though the button itself doesn't have a firm break between half-press and full, it still responds just right to increased pressure, firing just right.
There's no Mode Dial on the Olympus E-5; instead you press a button on the top deck, left of the pentaprism, and turn the Rear Main dial, while changes appear on the both the top and rear Status displays. Turning the Front or Sub dial changes the Drive mode. Autofocus and Metering also split one button between both dials, while White balance, EV, and ISO are adjusted with either dial.
The rear is where the primary physical differences lie between the E-3 and Olympus E-5. Most of the changes come due to the LCD's size increase from 2.5-inch to 3-inch, while retaining the swivel hardware. Text on the new 920K LCD is razor sharp, which makes composing images and focusing when in Live View mode a pleasure too.
Three of the buttons that used to run along the bottom of the LCD on the E-3 are now above the LCD. The Delete button moved to just beneath the Four-way navigator. The navigator and power switch have also been shoved over, and the card door release lever was omitted, and the more common sliding door lock was put in its place. Despite the changes, though, my thumb and the heel of my hand still fit comfortably on the back of the Olympus E-3 without pressing any of the buttons unintentionally. The SSWF (super sonic wave filter) lamp is gone, as is the IS button.
In the upper right corner, the AF-point selection button is now also the Movie start/stop button when in Live View mode.
A new light sensor appears between the optical viewfinder and the LCD, dimming the LCD when you bring your eye to the viewfinder. A similar sensor was positioned in the upper left corner of the LCD on the E-3, but here it serves a dual purpose.
The E-5's four-way navigator, which Olympus calls an Arrow pad, is well-positioned for easy access. Other buttons on the back and top are clearly marked for easy comprehension. The Olympus E-5's rear LCD also serves as a Status display whose settings are accessible via a press of the center OK button.
Sunday, January 16, 2011
Canon PowerShot A3300 IS Digital Camera
5th January 2011 – Canon today unveils the PowerShot A3300 IS and PowerShot A3200 IS, a duo of new models that combine high-quality imaging and a range of creative features in a bright, colourful body; making it easier to have more fun with your photography. Capturing high-resolution, still images and optically stabilised 720p HD video, each offers an exceptionally easy-to-use, flexible and great value option for those who want to relive their best moments in amazing detail.
Succeeding the A3000 IS and A3100 IS at the top of the PowerShot A-series, both models are slim and stylish, with a solid metal chassis that reflects the enduring, robust performance assured by all Canon products. Allowing users to inject colour into their photography before they even take their first image, the PowerShot A3300 IS is available in red, blue, pink and silver, whilst the PowerShot A3200 IS offers a choice of pink, orange, silver and aqua.
Canon-quality imaging
Both models offer the flexibility of high-resolution image sensors, with the PowerShot A3300 IS capturing 16.0 Megapixel images and the PowerShot A3200 IS offering a resolution of 14.1 Megapixels. These resolutions allow users to print at A2 size without compromising on quality, or to crop tightly to create interesting compositions. Canon’s latest DIGIC 4 image processing powers both models, providing swift operation and excellent quality shots.
A genuine Canon 28mm wide-angle lens with 5x optical zoom provides great flexibility in all situations, whether recording family gatherings, holidays or evening events. The versatile zoom range will ensure everyone fits in the frame, or can get closer to subjects for intimate portraits. The integrated lens-shift optical Image Stabilizer – an unrivalled advantage of Canon cameras – reduces the effects of camera shake, which can add blur to images shot in low light or at the telephoto end of the zoom. This allows users to capture sharp results in full resolution with up to 1/8th of the light than would otherwise be possible from a model without image stabilization.
Great images from the first click
The PowerShot A3300 IS and PowerShot A3200 IS make it easier for everyone to capture fantastic still images to mark an event, a special moment or an exciting adventure. Both models offer the latest version of Canon’s Smart Auto mode, which instantly evaluates each shooting situation against multiple factors, grouped in 32 detectable scenes, and then automatically adjusts the camera settings to capture the scene as intended, without requiring any input from the photographer.
Perfect for capturing the action, Smart Auto combines Face Detection Technology with the latest Advanced Subject Detection technology, allowing it to identify and lock onto both human and non-human moving subjects within the scene. Once identified, Servo AF/AE ensures the subject remains in focus and well-exposed, right up until the shutter release is fully pressed and the image is recorded.
Thanks to enhanced integrated i-Contrast and Smart Flash Exposure functions, Smart Auto captures subjects in the best possible detail, reducing the occurrence of harsh shadows and over-exposed highlights. Motion Detection Technology also senses camera or subject movement, automatically selecting the optimum combination of shutter speed and ISO sensitivity for sharp, low noise results. Even challenging situations, such as subjects illuminated with strong spotlights or backlit subjects, can be automatically detected and optimally captured using Smart Auto mode.
For those who prefer straightforward point and shoot photography, Easy mode deactivates most of the buttons and removes icons from the screen, making it simple for even the most inexperienced user to take great photos. Favourite images can easily and immediately be shared on the large, 230,000-dot screen.
The PowerShot A3300 IS boasts a 7.5 cm (3.0”) LCD and the PowerShot A3200 IS offers a 6.7 cm (2.7”) LCD, with five brightness settings. A Quick Bright function instantly sets the screen to full brightness at the touch of a button, which can be particularly useful when viewing the screen under very bright lighting conditions. Furthermore, on-screen Hints & Tips provide a brief overview of each function, helping users to quickly familiarise themselves with the camera menu.
Powerful, creative support for everyone
720p high-definition video provides an additional avenue for users to record special moments in rich quality – recording in H.264 format, which allows for more video to be stored on a single card compared to the standard MJPEG format. In a first for the PowerShot A-series, both new models also feature Canon’s Dynamic optical Image Stabilizer which counteracts picture shake commonly recorded when the user is moving and recording at the same time, helping to produce smoother, sharper footage.
Each model features six Creative Filters which add a different perspective to images. In addition to Miniature Effect, Fish-eye Effect, Super Vivid and Poster Effect, two new filters have been added to enable users to experiment with a greater range of effects. New Toy Camera Effect gives images the retro feel of pinhole camera photos, while Monochrome creates atmospheric shots with sepia, black and white or other monochromatic tones. Canon’s popular Miniature Effect can be applied to movies as well as still images, recording 1.5, 3 or 6 frames per second in movie mode to create the impression of a time-lapse video of a small-scale model.
For users who like the freedom to make image adjustments without having extensive knowledge of manual settings, Live View Control allows basic image controls such as brightness, colour or tone to be changed manually to match a desired result. Each adjustment is displayed live on the LCD screen, allowing the different effects to be previewed while framing the subject, prior to image capture.
Both models offer a range of innovative ways to take self-portraits, or ensure the photographer can be part of the picture. Smart Shutter with Face Detection Technology allows users to trigger the shutter release with a smile, a wink or simply after the camera detects an extra face entering the frame. A new Discreet mode is also ideal for shooting in quiet locations where flash photography is not permitted, such as during ceremonies or inside museums, allowing users to carry on shooting by disabling all camera sounds, the focus assist lamp and the flash.
Succeeding the A3000 IS and A3100 IS at the top of the PowerShot A-series, both models are slim and stylish, with a solid metal chassis that reflects the enduring, robust performance assured by all Canon products. Allowing users to inject colour into their photography before they even take their first image, the PowerShot A3300 IS is available in red, blue, pink and silver, whilst the PowerShot A3200 IS offers a choice of pink, orange, silver and aqua.
Canon-quality imaging
Both models offer the flexibility of high-resolution image sensors, with the PowerShot A3300 IS capturing 16.0 Megapixel images and the PowerShot A3200 IS offering a resolution of 14.1 Megapixels. These resolutions allow users to print at A2 size without compromising on quality, or to crop tightly to create interesting compositions. Canon’s latest DIGIC 4 image processing powers both models, providing swift operation and excellent quality shots.
A genuine Canon 28mm wide-angle lens with 5x optical zoom provides great flexibility in all situations, whether recording family gatherings, holidays or evening events. The versatile zoom range will ensure everyone fits in the frame, or can get closer to subjects for intimate portraits. The integrated lens-shift optical Image Stabilizer – an unrivalled advantage of Canon cameras – reduces the effects of camera shake, which can add blur to images shot in low light or at the telephoto end of the zoom. This allows users to capture sharp results in full resolution with up to 1/8th of the light than would otherwise be possible from a model without image stabilization.
Great images from the first click
The PowerShot A3300 IS and PowerShot A3200 IS make it easier for everyone to capture fantastic still images to mark an event, a special moment or an exciting adventure. Both models offer the latest version of Canon’s Smart Auto mode, which instantly evaluates each shooting situation against multiple factors, grouped in 32 detectable scenes, and then automatically adjusts the camera settings to capture the scene as intended, without requiring any input from the photographer.
Perfect for capturing the action, Smart Auto combines Face Detection Technology with the latest Advanced Subject Detection technology, allowing it to identify and lock onto both human and non-human moving subjects within the scene. Once identified, Servo AF/AE ensures the subject remains in focus and well-exposed, right up until the shutter release is fully pressed and the image is recorded.
Thanks to enhanced integrated i-Contrast and Smart Flash Exposure functions, Smart Auto captures subjects in the best possible detail, reducing the occurrence of harsh shadows and over-exposed highlights. Motion Detection Technology also senses camera or subject movement, automatically selecting the optimum combination of shutter speed and ISO sensitivity for sharp, low noise results. Even challenging situations, such as subjects illuminated with strong spotlights or backlit subjects, can be automatically detected and optimally captured using Smart Auto mode.
For those who prefer straightforward point and shoot photography, Easy mode deactivates most of the buttons and removes icons from the screen, making it simple for even the most inexperienced user to take great photos. Favourite images can easily and immediately be shared on the large, 230,000-dot screen.
The PowerShot A3300 IS boasts a 7.5 cm (3.0”) LCD and the PowerShot A3200 IS offers a 6.7 cm (2.7”) LCD, with five brightness settings. A Quick Bright function instantly sets the screen to full brightness at the touch of a button, which can be particularly useful when viewing the screen under very bright lighting conditions. Furthermore, on-screen Hints & Tips provide a brief overview of each function, helping users to quickly familiarise themselves with the camera menu.
Powerful, creative support for everyone
720p high-definition video provides an additional avenue for users to record special moments in rich quality – recording in H.264 format, which allows for more video to be stored on a single card compared to the standard MJPEG format. In a first for the PowerShot A-series, both new models also feature Canon’s Dynamic optical Image Stabilizer which counteracts picture shake commonly recorded when the user is moving and recording at the same time, helping to produce smoother, sharper footage.
Each model features six Creative Filters which add a different perspective to images. In addition to Miniature Effect, Fish-eye Effect, Super Vivid and Poster Effect, two new filters have been added to enable users to experiment with a greater range of effects. New Toy Camera Effect gives images the retro feel of pinhole camera photos, while Monochrome creates atmospheric shots with sepia, black and white or other monochromatic tones. Canon’s popular Miniature Effect can be applied to movies as well as still images, recording 1.5, 3 or 6 frames per second in movie mode to create the impression of a time-lapse video of a small-scale model.
For users who like the freedom to make image adjustments without having extensive knowledge of manual settings, Live View Control allows basic image controls such as brightness, colour or tone to be changed manually to match a desired result. Each adjustment is displayed live on the LCD screen, allowing the different effects to be previewed while framing the subject, prior to image capture.
Both models offer a range of innovative ways to take self-portraits, or ensure the photographer can be part of the picture. Smart Shutter with Face Detection Technology allows users to trigger the shutter release with a smile, a wink or simply after the camera detects an extra face entering the frame. A new Discreet mode is also ideal for shooting in quiet locations where flash photography is not permitted, such as during ceremonies or inside museums, allowing users to carry on shooting by disabling all camera sounds, the focus assist lamp and the flash.
Saturday, January 15, 2011
Sony NEX-5 And NEX-3 Digital Camera
As the fourth major manufacturer to enter the market for small, mirrorless digital cameras with interchangeable lenses, Sony had to make a big impression. We think they'll do just that with the new Sony NEX-5 and NEX-3, two cameras they're calling "alpha compact interchangeable lens digital cameras."
The promise of mirrorless digital cameras has been high image quality without all the bulk, and the photographic versatility of interchangeable lenses. The Sony NEX-5 delivers that better than any model so far, and does it with style and a sturdy build.
There are so many interesting innovations in the Sony NEX-5 and NEX-3, that it's difficult to know where to start. Easily the biggest news, though, is that the Sony NEX series is the first interchangeable lens digital camera system designed to tackle continuous autofocus and exposure adjustment while recording video, where all the components, bodies and lenses, support the feature. (Panasonic's GH1 was the first to take on this challenge, but only Panasonic's HD lenses support these advanced features, not every Micro Four Thirds lens.) Video is indeed the one major area, aside from size, where the two new cameras differ: The NEX-5 supports 1080i AVCHD video recording, while the NEX-3 is limited to 720p video capture.
A 14-megapixel Exmor APS HD CMOS sensor is responsible for the high quality we found in the images from both cameras, and a new Bionz processor is also hard at work in the two cameras.
Several hot features were brought over from recent Alphas and Cyber-shot digital cameras, including Sweep Panorama, Auto High-Dynamic Range shooting, Handheld Twilight, and Anti-motion-blur modes, each of which strategically combine and align several images into one seamless one. It's pretty impressive stuff. As if that weren't enough, Sony's also announcing an upcoming upgrade (even before the cameras ship!) that will enable a special 3D Sweep Panorama mode that will work with several as-yet unannounced Bravia TV sets coming in July 2010.
Both the Sony NEX-5 and NEX-3 sport a wide, 3-inch LCD with 921,000-dot resolution. The surprise is that the super-slim LCD tilts up 80 degrees and down 45 degrees for easy viewing. With TruBlack technology borrowed from Sony's picture frames, shooting in or out of doors is a pretty good experience.
Though by name the new cameras are Alphas, they no longer use the Alpha mount; instead Sony has christened a new E-mount, for which two lenses will ship right away, both as kit lenses. The first is a fairly standard 18-55mm f/3.5-6.3 lens with Optical SteadyShot, and the second is a 16mm f/2.8 pancake prime lens. Both have a beautiful aluminum barrel in brushed gunmetal gray.
An adapter is available for mounting Alpha lenses, but autofocus will be disabled with the NEX cameras. Two converters will also ship for use with the 16mm lens: an Ultra Wide Converter with a 12mm equivalent view, and a Fisheye Converter.
Finally, an 18-200mm f/3.5-6.3 OSS lens is planned for shipment some time this year.
Both the Sony NEX-5 and NEX-3 accept both Memory Stick Pro Duo/Pro-HG Duo/Pro-HG HX Duo and SD, SDHC, and SDXC media.
The promise of mirrorless digital cameras has been high image quality without all the bulk, and the photographic versatility of interchangeable lenses. The Sony NEX-5 delivers that better than any model so far, and does it with style and a sturdy build.
There are so many interesting innovations in the Sony NEX-5 and NEX-3, that it's difficult to know where to start. Easily the biggest news, though, is that the Sony NEX series is the first interchangeable lens digital camera system designed to tackle continuous autofocus and exposure adjustment while recording video, where all the components, bodies and lenses, support the feature. (Panasonic's GH1 was the first to take on this challenge, but only Panasonic's HD lenses support these advanced features, not every Micro Four Thirds lens.) Video is indeed the one major area, aside from size, where the two new cameras differ: The NEX-5 supports 1080i AVCHD video recording, while the NEX-3 is limited to 720p video capture.
A 14-megapixel Exmor APS HD CMOS sensor is responsible for the high quality we found in the images from both cameras, and a new Bionz processor is also hard at work in the two cameras.
Several hot features were brought over from recent Alphas and Cyber-shot digital cameras, including Sweep Panorama, Auto High-Dynamic Range shooting, Handheld Twilight, and Anti-motion-blur modes, each of which strategically combine and align several images into one seamless one. It's pretty impressive stuff. As if that weren't enough, Sony's also announcing an upcoming upgrade (even before the cameras ship!) that will enable a special 3D Sweep Panorama mode that will work with several as-yet unannounced Bravia TV sets coming in July 2010.
Both the Sony NEX-5 and NEX-3 sport a wide, 3-inch LCD with 921,000-dot resolution. The surprise is that the super-slim LCD tilts up 80 degrees and down 45 degrees for easy viewing. With TruBlack technology borrowed from Sony's picture frames, shooting in or out of doors is a pretty good experience.
Though by name the new cameras are Alphas, they no longer use the Alpha mount; instead Sony has christened a new E-mount, for which two lenses will ship right away, both as kit lenses. The first is a fairly standard 18-55mm f/3.5-6.3 lens with Optical SteadyShot, and the second is a 16mm f/2.8 pancake prime lens. Both have a beautiful aluminum barrel in brushed gunmetal gray.
An adapter is available for mounting Alpha lenses, but autofocus will be disabled with the NEX cameras. Two converters will also ship for use with the 16mm lens: an Ultra Wide Converter with a 12mm equivalent view, and a Fisheye Converter.
Finally, an 18-200mm f/3.5-6.3 OSS lens is planned for shipment some time this year.
Both the Sony NEX-5 and NEX-3 accept both Memory Stick Pro Duo/Pro-HG Duo/Pro-HG HX Duo and SD, SDHC, and SDXC media.
Panasonic DMC-GF2 Digital Camera
The DMC-GF2 is essentially a smaller, externally-simpler version of the GF1 that's acquired many of the feature upgrades we first saw on the G2 (most notably the touch-sensitive screen) plus Full HD video. Its body is smaller in every dimension than its predecessor's, making it very nearly as petite as the Sony NEX-5. In the process, though, it's shed a significant number of those external controls that until now have been the hallmark of the G series - most obviously the exposure mode dial, but also the drive-mode lever that sat beneath it, along with several of the buttons on the back. This places rather greater reliance on the touchscreen for quick operation compared to the G2, and Panasonic has redesigned the interface (and the Quick Menu in particular) to facilitate this.
These changes all signal a clear repositioning of the GF series in the market. Whereas the GF1 was unashamedly a camera for enthusiast photographers, the GF2 is now aimed much more at compact camera owners looking for an upgrade. According to Panasonic the design emphasis has been on offering creative controls as opposed to just providing a simple, unintimidating camera which happens to contain a larger sensor.
Despite this, there's still a smattering of clear updates and improvements over the previous model, and while they're generally more evolutionary than revolutionary, this mainly reflects the maturity of the GF1 design. Most notably, the GF2 gains Full HD movie recording capability (1080i at 60fps from 30p capture) that is supported by a stereo microphone on the top plate. In spec terms, at least, this makes for the most capable interchangeable lens camera movie capability aside from the GH2 (which offers 1080i at 60fps from 60p capture). On the photographic side it inherits the G2's ability to shoot at 2.6 fps while maintaining live view, along with its ISO 6400 maximum sensitivity, improved Auto ISO program and a dedicated iAuto button on the top plate. Meanwhile 3D fans will undoubtedly be delighted by its support for the new H-FT012 lens.
Much of the key spec, though, remains unchanged, including the stalwart (i.e. ageing) 12Mp Four Thirds sensor and the 460k dot 3" 3:2 aspect ratio LCD. The hot shoe and associated EVF port is still present and correct, alongside the little pop-up flash, and thankfully Panasonic hasn't been tempted to discard the clickable thumbwheel that operates the primary exposure controls. However the pared-down body design inevitably means the camera is powered by a new, slightly smaller battery.
One slightly unexpected marketing change is that the GF2 will not be bundled with the 20mm F1.7 pancake lens, but instead come with a choice of either the latest 14-42mm zoom, the diminutive 14mm F2.5 pancake, or in a twin lens kit with both. We're a bit mystified by this decision, to be honest - yes the 14mm gives the smallest possible package, but as far as we're concerned the stop-faster 20mm is a much more useful all-rounder. The GF2 will be available in a choice of colors depending on market (out of black, red, silver, white and pink), and for buyers of the red and black versions the 14mm lens will come with a black (as opposed to steel grey) barrel.
Thursday, January 13, 2011
Pentax K-5 Digital Camera
With a brand-new 16-megapixel sensor, seven frames per second burst rate, and an unusually wide expanded ISO sensitivity range of 80 to 51,200 equivalents, the Pentax K-5 takes over the flagship position in Pentax's APS-C digital SLR lineup, replacing last year's K-7 model. (Technically, the Pentax K-5 is the company's flagship digital camera in most markets, period, since the attention-grabbing medium format Pentax 645D model has very limited distribution outside of the Japanese market.)
While its nearly identical to its predecessor externally, the Pentax K-5 sports a number of under-the-skin improvements beyond those enabled by its updated CMOS image sensor, some of them seen previously in the recently-announced mid-range Pentax K-r DSLR.
The Pentax K-5 includes the latest generation of Pentax's SAFOX phase-detection autofocus module, which debuted in the 645D. The 11-point SAFOX IX+ module combines features of the SAFOX VIII+ module from the K-7, and the SAFOX IX module from the K-r. It should yield improved low-light focusing, as well as more accurate and stable AF overall.
The Pentax K-5 also inherits the dual-axis level gauge function from the 645D, giving an indication of both tilt and roll, where the K-7 offered only a single-axis roll gauge. Coupled with the sensor shift stabilization system from the K-7, which can correct for rotation around the lens barrel axis, the Pentax K-5 can also automatically correct for slightly tilted horizons at capture time.
Pentax has updated its high dynamic range mode in the K-5, enabling handheld HDR shooting, and providing a greater degree of control over the look of the HDR effect that can be achieved in-camera. Other creative additions include the latest Custom Image and Filter effects from the K-r, such as an overhauled Cross Process function, Bleach Bypass effect, and more.
Also updated is the Pentax K-5's movie recording function, which now captures videos at up to Full HD (1080p) resolution, and the K-5 still includes both an external stereo microphone jack, plus the ability to control the aperture used for video recording. For creative types, the Pentax K-5 now allows use of some of its filter effect functions during movie recording.
The Pentax K-5 uses SD and SDHC memory cards for storage, and a firmware update due shortly after the cameras ship will enable compatibility with SDXC cards as well. All accessories compatible with the K-7, including Pentax's battery / portrait grip, tethered and infrared remotes, and lithium ion battery pack, will also work in the Pentax K-5, making it rather easier for current K-7 owners to justify upgrading to the newer model.
While its nearly identical to its predecessor externally, the Pentax K-5 sports a number of under-the-skin improvements beyond those enabled by its updated CMOS image sensor, some of them seen previously in the recently-announced mid-range Pentax K-r DSLR.
The Pentax K-5 includes the latest generation of Pentax's SAFOX phase-detection autofocus module, which debuted in the 645D. The 11-point SAFOX IX+ module combines features of the SAFOX VIII+ module from the K-7, and the SAFOX IX module from the K-r. It should yield improved low-light focusing, as well as more accurate and stable AF overall.
The Pentax K-5 also inherits the dual-axis level gauge function from the 645D, giving an indication of both tilt and roll, where the K-7 offered only a single-axis roll gauge. Coupled with the sensor shift stabilization system from the K-7, which can correct for rotation around the lens barrel axis, the Pentax K-5 can also automatically correct for slightly tilted horizons at capture time.
Pentax has updated its high dynamic range mode in the K-5, enabling handheld HDR shooting, and providing a greater degree of control over the look of the HDR effect that can be achieved in-camera. Other creative additions include the latest Custom Image and Filter effects from the K-r, such as an overhauled Cross Process function, Bleach Bypass effect, and more.
Also updated is the Pentax K-5's movie recording function, which now captures videos at up to Full HD (1080p) resolution, and the K-5 still includes both an external stereo microphone jack, plus the ability to control the aperture used for video recording. For creative types, the Pentax K-5 now allows use of some of its filter effect functions during movie recording.
The Pentax K-5 uses SD and SDHC memory cards for storage, and a firmware update due shortly after the cameras ship will enable compatibility with SDXC cards as well. All accessories compatible with the K-7, including Pentax's battery / portrait grip, tethered and infrared remotes, and lithium ion battery pack, will also work in the Pentax K-5, making it rather easier for current K-7 owners to justify upgrading to the newer model.
Tuesday, January 11, 2011
Samsung Digital Camera NX11
Samsung has tossed a new digital camera into the limelight this week called the NX11. The new digital camera promises a set of features that are much like the first mirrorless interchangeable lens cameras that Samsung brought to market such as the NX10. The new camera will ship with an 18-55mm i-Function lens and it will also be available with pair of additional i-Function lenses (20mm pancake lens and a 20-55mm zoom lens).
The cool lenses put all of the controls the user needs at their fingertips for easy adjustments and use. The idea is that adjusting settings directly from the lens allows the user to make adjustment without needing to take their hands of the camera and eyes off the subject.
“Today’s launch is important for Samsung in reinforcing our position as a leading innovator in the digital camera market and for showing our innovation in the compact system camera market,” said Mr. Hyunho Chung, Executive Vice President and Head of the Digital Imaging Business, Samsung Electronics. “The NX11, while offering the best features of the NX10, has an upgraded design and the additional i-Function capability with more lenses. The launch of our next offering in the NX range also demonstrates our commitment to our customers, by producing user driven innovation in the form of easy-to-use functions and upgraded customization.”
The camera boasts integrated flash and an electronic VGA resolution viewfinder along with a 3-inch rear AMOLED screen. The camera can also record 720p HD video and has an APS-C sensor. The sensor has a resolution of 14.6-megapixels and the lenses use the NX mount. Image stabilization is currently built into the lenses of the camera.
Overall dimensions will vary a bit with the lens used. The dimensions of the body are 123 x 87 x 39.8mm and the camera weighs 353g without the memory card inside. The camera has all sorts of auto modes and other features and face detection that can detect up to ten faces per shot.
The cool lenses put all of the controls the user needs at their fingertips for easy adjustments and use. The idea is that adjusting settings directly from the lens allows the user to make adjustment without needing to take their hands of the camera and eyes off the subject.
“Today’s launch is important for Samsung in reinforcing our position as a leading innovator in the digital camera market and for showing our innovation in the compact system camera market,” said Mr. Hyunho Chung, Executive Vice President and Head of the Digital Imaging Business, Samsung Electronics. “The NX11, while offering the best features of the NX10, has an upgraded design and the additional i-Function capability with more lenses. The launch of our next offering in the NX range also demonstrates our commitment to our customers, by producing user driven innovation in the form of easy-to-use functions and upgraded customization.”
The camera boasts integrated flash and an electronic VGA resolution viewfinder along with a 3-inch rear AMOLED screen. The camera can also record 720p HD video and has an APS-C sensor. The sensor has a resolution of 14.6-megapixels and the lenses use the NX mount. Image stabilization is currently built into the lenses of the camera.
Overall dimensions will vary a bit with the lens used. The dimensions of the body are 123 x 87 x 39.8mm and the camera weighs 353g without the memory card inside. The camera has all sorts of auto modes and other features and face detection that can detect up to ten faces per shot.
Canon EOS 60D
Canon recently introduced the 18 megapixel Canon EOS 60D digital SLR, a camera geared towards enthusiast level photographers, and which shares the same sensor technology found in the popular Canon Rebel T2i. The 60D serves as a successor to the Canon EOS 50D. The Canon 60D provides a more rugged body design compared to the Rebel T2i, and although the two camera's feature a similar 3.0-inch LCD screen with 1.02 million resolution, the rear LCD monitor on the 60D provides greater versatility by offering a tilt and swivel function for shooting at unusual and more creative angles.
The Canon 60D also provides faster 5.3 frames per second (fps) continuous shooting (versus 3.7 fps for the T2i), a brighter and clearer glass pentaprism viewfinder with slightly greater coverage compared to the penta-mirror viewfinder found in the T2i, and offers a different button and control layout combined with a top illuminated LCD information display and a number of additional functions.
A one touch movie record button, an external stereo microphone input and manual movie controls make the Canon EOS 60D a great tool for creating movies. Like the Canon Rebel T2i, the EOS 60D allows you to capture 1080p HD movies with sound to complement your stills, and the camera provides a Live view feature allowing users to compose images and shoot video by using the LCD monitor to frame the subject (in the same way as on a point and shoot).
The Canon EOS 60D incorporates the same 63 zone dual layer exposure metering system found in the Rebel T2i and the higher end Canon EOS 7D, although with some slight variations in center weighted and spot metering area coverage. The camera's 9-area Auto Focus (AF) system with selectable focus points and centre cross sensor provides efficient AF performance and remains largely unchanged from the system found in the Rebel T2i.
The Canon 60D also provides faster 5.3 frames per second (fps) continuous shooting (versus 3.7 fps for the T2i), a brighter and clearer glass pentaprism viewfinder with slightly greater coverage compared to the penta-mirror viewfinder found in the T2i, and offers a different button and control layout combined with a top illuminated LCD information display and a number of additional functions.
A one touch movie record button, an external stereo microphone input and manual movie controls make the Canon EOS 60D a great tool for creating movies. Like the Canon Rebel T2i, the EOS 60D allows you to capture 1080p HD movies with sound to complement your stills, and the camera provides a Live view feature allowing users to compose images and shoot video by using the LCD monitor to frame the subject (in the same way as on a point and shoot).
The Canon EOS 60D incorporates the same 63 zone dual layer exposure metering system found in the Rebel T2i and the higher end Canon EOS 7D, although with some slight variations in center weighted and spot metering area coverage. The camera's 9-area Auto Focus (AF) system with selectable focus points and centre cross sensor provides efficient AF performance and remains largely unchanged from the system found in the Rebel T2i.
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