Fujifilm won a great many fans with its F30 and F31fd models, which combined slightly larger than average sensors containing fewer pixels than their competitors with some clever image processing, to produce some of the best high ISO images we'd ever seen from a compact camera. In fact, three years later, there are very few compacts we can think of that do a better job once the sun goes down.While playing lip-service to the needs of low-light photography (and continuing to produce cameras whose processing give them a slight edge over their contemporaries), Fujifilm didn't appear to make further progress in the direction the F30 had pioneered. With the F200 EXR, Fujifilm seems to suggest that it wants to regain its low-light crown, based on a novel sensor technology it has developed (explained on the next page). In a time when compact cameras are becoming increasingly commoditized, it's interesting to see a company trying to use more than just marketing to differentiate its products.
And, even without its EXR cleverness, the F200 EXR is still a fairly well specified camera. It has one of the largest sensors used in any compact camera (it's a 1/1.6" type, which means it has a surface area of around 0.45cm2) combined with a lens that offers a very useful range, equivalent to 28-140mm in 35mm film terms. To put this in perspective, most DSLRs are supplied with lenses covering a roughly 28-85mm range. It's not the fastest (brightest) lens in the world but it's not excessively slow compared to its peers.
The F200 also offers image stabilization, which is one of the best features for ensuring consistently sharp images, along with modes that allow a reasonable amount of control over the camera and ones that take care of everything for you.
* 12MP Super CCD EXR sensor with 6MP dynamic range and high sensitivity modes * Dual Image Stabilization (High sensitivity + CCD shift) * 5.0x optical zoom (28-140mm equiv) * 3.0-inch TFT screen with 230.000 dots * ISO 3200 sensitivity at full resolution * IR Communication (IR simple™/IR SS™) * VGA movie capture of 25 frames per second with sound * Micro thumbnail view (up to 100 thumbnails visible) * 5fps continuous mode (3MP, 12 frames max) * Aperture priority modes
Changes over the F100fd
Looking at the differences between the F100fd and the F200 EXR (if you can find them), you very quickly come to the conclusion that the F200 EXR is essentially an F100fd with a clever new sensor inserted. This is no bad thing, since the F100fd was a pretty popular camera and change of sensor may well address the most discussed shortcoming (pink banding appearing in high-ISO shooting).
Preview based on a pre-production Pentax K-7Pentax is a name that will evoke fond memories for many photographers whose first SLR experience would have been with a Spotmatic, KM, K1000 or ME Super. Although the company's market position isn't as well entrenched as it was during the halcyon days of 35mm film, it continues to attract a devoted following of enthusiasts. And that following isn't just based on nostalgia - Pentax is alone in having developed a comprehensive range of prime lenses for the APS-C format that dominates modern DSLR photography, while most of its competitors concentrate on offering a selection of zooms.
Pentax's cameras have also catered well for this market in the shape of the competitively-priced K20D, a very likeable, solid upgrade to the K10D. Both cameras offered robust semi-pro build quality and a fairly advanced degree of environmental sealing, combined with a good level of customizability and well worked-out handling. But it's now been over two-and-a-half years since the K10D appeared and, as it tends to, the market has moved on. The K20D's live view system was not exactly class leading, and the camera was starting to look a little long-in-the-tooth when compared to the video-shooting Canons and Nikons that have started to appear, with their VGA screens and polished interfaces.
So here we have the K-7, Pentax's latest enthusiast/semi-pro level DSLR. And a handsome creature it is, too - gone is the K20D's slightly pudgy utilitarianism, to be replaced by a sleek, pared-down elegance. But it's not just on the outside that things have changed: although the megapixel count remains the same, just about everything that matters has been replaced, revised or spruced-up.
Its spec isn't quite what the rumors might have suggested, but it still manages to look an awful lot like the wish-list of most enthusiast photographers (though one based in reality, rather than the increasingly surreal suggestions being churned out by the rumor mill).
The headline changes:
* 720p/1080i HD video recording * Smaller magnesium/steel alloy body * Revised viewfinder (less magnified but with greater coverage) * Updated sensor with four-channel readout * 3.0" VGA (920,000 dot) LCD * New shutter mechanism with 1/8000th shutter speed * Faster continuous shooting (up to 5.2 fps) * 77 segment exposure metering sensor * Revised autofocus algorithms * AF illumination lamp * New dust removal system * HDMI output
And that's just the big stuff. The implications of some of these changes are almost as significant as their obvious effects - as well as allowing faster frame rates and video, the reworked, four-channel sensor promises to generate less noise than the version used in the K20D. There are also lots of more subtle additions that show just how fundamental a change this camera is from its predecessor.
* New dedicated ISO button * Distortion and chromatic aberration correction for DA and DFA lenses (also available in RAW conversion) * Adjustable dynamic range highlight and shadow correction * Three-shot in-camera HDR capture * Electronic level indicator * Composition adjustment (Uses the SR system to reposition the sensor to fine-tune composition)
However you look at it, it's a well-specified camera. Weather sealed lenses
To allow the K-7 to make the most of its weather sealing, while still allowing it to be sold as part of relatively inexpensive kits, two weather-resistant kit lenses have also been introduced. The optics are based on the existing DA lenses but with what the company describes as 'simplified weather-resistant construction' that offers greater protection against moisture and dust ingress than the older designs.
SONY INTRODUCES THREE MAINSTREAM ALPHA CAMERAS DESIGNED FOR FIRST-TIME DIGITAL SLR BUYERS
SAN DIEGO, May 17, 2009 – Sony is making it easy for first-time digital SLR buyers to step up from point-and-shoot digital still cameras with the introduction today of three new easy-to-use α (alpha) cameras (models DSLR-A380, DSLR-A330 and DSLR-A230), four new lenses, a flash and accessories.Uniquely Matched to Customers’ NeedsThe new cameras are designed to overcome challenges faced by many customers taking their first steps in DSLR photography. Without compromising performance and versatility, the new models are smaller, lighter, easier to use and offer innovative expansion options not found in other systems.“Our new alpha cameras, lenses and accessories make it easier for new users to get the great photos they expect without the steep learning curve that DSLRs have traditionally required,” said Kristen Elder, senior manager for the alpha business at Sony Electronics Inc. “By overcoming the obstacles, we’ve made it much easier for newcomers to take great pictures with DSLRs.”
Light and Compact The 10.2 megapixel α230 camera is the lightest, most compact alpha DSLR camera body ever at 15.9 ounces. The 10.2 megapixel α330 and the 14.2 megapixel α380 cameras are also smaller and lighter than their predecessor models (the DSLR-A300 and DSLR-A350, respectively). These cameras are also more compact and feature an intuitive control layout that allows for easy single-handed operation.
SteadyShot INSIDE™ in-camera image stabilization is built into each camera body, so every α-mount lens benefits from the ability to minimize blur due to camera shake.
Quick AF Live View System Both the α380 and α330 cameras offer Sony’s Quick Autofocus (AF) Live View technology, so you can frame photos on the camera’s LCD screen as well as in the optical viewfinder. Through the use of a dedicated image sensor, Quick AF Live View maintains the rapid response of a DSLR, while avoiding the focus delay common to other live view systems.
The new cameras feature a 2.7-inch (diagonally) Clear Photo LCD™ screen that is easy to view even in bright sunlight. Additionally, the LCD on the α380 and α330 models can be tilted up or down, making it easy to frame your subject from high or low positions, otherwise difficult to see using an eye-level viewfinder. The range of adjustment has been increased from their predecessors, making it even easier to get shots from difficult angles.
By combining Quick AF Live View and an adjustable LCD, users can frame the scene without holding the camera in front of their face, allowing parents, for example, to maintain eye-contact when photographing their children for more natural expressions.
An HDMI™ terminal gives you the option of connecting your camera to a compatible HDTV and playing back your images in high definition quality (HDMI cable required, sold separately). Additionally, BRAVIA® Sync™ works with compatible Sony® BRAVIA HDTVs to let you control camera playback using the television’s remote (HDMI cable and BRAVIA Sync capable HDTV required, sold separately).
The new cameras include dedicated slots for high-capacity Memory Stick PRO Duo™, Memory Stick PRO-HG Duo™ and SD/DSHC media (sold separately).
Built-in Help Guide The α380, α330 and α230 models are Sony’s first DSLR cameras to feature a graphical user interface (GUI) with built-in on-screen Help Guide.
The Help Guide offers clear, concise explanations of various modes and settings, while the Graphic Display helps you understand the relationship between aperture and shutter speed, as well as the effect each has on photographic results.
Systems, Lenses and Flash Making it easier for first-time DSLR users to get started, the new Sony cameras come in camera-and-lens packages. In addition to the two new standard zoom and telephoto lenses that are offered with the camera bodies, the company introduced new portrait and macro lenses. These purpose-built lenses make it much easier to obtain professional-looking, creative results.
Optimized for use with APS-C sized image sensors, these lenses feature a Smooth Autofocus Motor (SAM) that enables in-lens auto focus (AF) drive for smooth, quiet operation, and high optical performance in a compact size.
The DT 18-55mm F/3.5-5.6 standard zoom lens (model SAL-1855) incorporates aspherical and Extra-low Dispersion (ED) elements to provide an all purpose lens with outstanding image quality. The DT 55-200mm F/4-5.6 telephoto zoom lens (model SAL-55200/2) features an ED glass element and helps bring distant subjects closer, ideal for capturing sports. Both the SAL-1855 and SAL-55200 lenses are available separately, or packaged as kits with the new cameras.
To make the benefits of portrait and macro photography easier and more accessible, Sony is introducing a DT 50mm F/1.8 portrait lens (model SAL-50F18) and DT 30mm F/2.8 (model SAL-30M28) macro lens. The wide aperture SAL-50F18 lens helps users capture beautiful portraits with gently defocused backgrounds while the SAL-30M28 macro lens captures intricate close-ups. Both techniques are difficult to achieve with standard lenses.
To help users take better shots with flash, Sony offers an affordable, compact external flash unit (model HVL-F20AM) that is simple to operate. Unlike a camera’s built-in flash, this external flash provides higher output (Guide Number 20), and enables users to bounce light off the ceiling to eliminate harsh shadows and achieve more even illumination when shooting indoors.
Pricing and Availability Pre-orders will begin on May 18, 2009 at www.sonystyle.com/retail and at selected retailers nationwide. The cameras and a range of accessories will be available in July at Sony Style® retail stores (www.sonystyle.com/retail), at military base exchanges and at authorized dealers nationwide.
The α380L, α330L and α230L will cost about $850, $650 and $550, respectively. The L series one-lens kit comes with the SAL-1855 standard zoom lens.
The α380Y, α330Y and α230Y will cost about $1050, $850 and $750, respectively. The Y series two-lens kit comes with both the SAL-1855 standard zoom and SAL-55200 telephoto zoom lenses.
* The SAL-1855 standard zoom lens will cost about $200. * The SAL-55200 telephoto zoom lens will cost about $230. * The SAL-50F18 portrait lens will cost about $150. * The HVL-F20AM flash will cost about $130.
Panasonic's LX series has always been home to the company's most ambitious compacts, offering a range of photographer-friendly features in a small, stylish and solid body festooned with external controls. It's been two years since the launch of the LX2 and the market has changed a lot in that time - the level of features offered even on inexpensive models has grown and the cost of all cameras, particularly DSLRs, has fallen drastically. Both of these trends risk reducing the potential market for premium compacts if their features are available on cheaper compacts, and much better photographic tools (in terms of flexibility of purpose and image quality) are available for only a little more money. So the LX3, more than its predecessors, has to play to its strengths - it needs to offer some of the best compact camera image quality, a good degree of user control and a body that is more convenient and pocketable than DSLRs can be.
And Panasonic seems fully aware of these challenges. When announcing the camera, the company pointed out that more pixels on the same sized sensor does not always result in better image quality and described its approach with the LX3 as: "boldly reversing the industry trend of pushing toward ever-higher pixel counts." It's an admirable position (though one that would be easier to acclaim if the company hadn't, on the same day, released one of the most pixel-dense cameras we've ever seen), and one that seems promising - the benefits of newer sensor and processing technology without those advances being strangled by the downsides of smaller pixels. (And we believe that if you offer more pixels with the hard drive clutter and slower camera operation they bring, then those pixels must be good at the pixel level, otherwise, what benefits do those additional pixels bring?)
Headline features
24mm wide 2.5x optical LEICA DC lens F2.0-2.8 maximum aperture range MEGA O.I.S.(Optical Image Stabilizer) Venus Engine IV Joystick-operated manual control Large 3.0” 460k dot LCD monitor Raw and JPEG recording modes Up to ISO 3200 sensitivity Up to 1280x720 (30 fps) pixel movie capture Manual exposure and focus options 1/2000th to 60 sec shutter speeds Available in black or silver LX3 vs LX2: main differences
Although the outward appearance hasn't changed that dramatically, the LX2 and LX3 are very different creatures. The the easiest thing to miss about the LX3 is its lens - a part of the specification sheet that is sometimes easy to overlook as a string of numbers. With the LX3 it's really worth spending a moment thinking about it: starting at 24mm equivalent is pretty unusual in a compact camera. Offering an aperture range of F2.0-2.8 is extraordinary. But to combine the two and include Image Stabilization is simply astonishing - this is not an everyday lens and it's something that defines how the camera behaves and what it can be used for.
To put that aperture range in perspective, this means it's one 'stop' faster (brighter) at the wide end and over 1.5 brighter at the long end than the F2.8-4.9 lens fitted to its predecessor. And this means that you can get the same exposure using the same shutter speed but using a lower ISO setting than with the older camera.
Beyond that, there the new, higher-resolution rear screen that conforms to the more traditional 3:2 aspect ratio, rather than its forebear's 16:9 unit.
The other differences are:
Similar pixel count sensor (10.1 vs 10.0 MP) Venus Engine IV (vs Venus Engine III) 3:2 aspect ratio 3-inch screen (was 2.8-inch 16:9) Flash hot-shoe Threaded lens barrel for adding optional conversion lenses or filters USB 2.0 Hi Speed interface (at last!) More internal memory (50 MB) 720p HD movie mode now at 30fps Closer minimum focusing distance: 1cm, rather than 5cm Faster continuous shooting (2.5fps for 8 frames, cf. 2fps for 5 frames) Separate component video out (for HD playback) Improved battery life Minor control and interface change
Almost exactly a year after the arrival of the EOS 40D, Canon has announced the 50D, which we're assured will be a sister-model, rather than a replacement. Recent history has seen Canon release new models every 18 months-or-so but it's been a busy year with newcomers such as the Nikon D300 getting a lot of attention in the 40D's keen-amateur/professional segment. The 50D is essentially a 40D body wrapped around a newly-developed 15 megapixel sensor that finally rectifies the situation in which Canon's XXD range trailed the company's entry-level line, in pixel terms. Canon is claiming that the new sensor's design (new manufacturing processes, redesigned photo diodes and micro lenses) mean that despite the higher resolution image noise has improved, something we'll be putting to the test later.
The other big change is the inclusion of a new, high-resolution LCD screen. 920,000 dots mean that it can convey 640 x 480 RGB pixels, making it effectively a VGA standard monitor. Three anti-reflection layers built into the screen do their best to keep it useable in bright conditions, too.
There are various other changes and added features, with many of them stemming from the first appearance of the Canon's Digic 4 processor. The key differences between the 50D and 40D are detailed below. Foreword / notes
If you're new to digital photography you may wish to read some of our Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).
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